How many music genres are there? [Bobby Owsinski]How many music genres are there? Hint: A LOT more than you think… by Bobby Owsinski of Music 3.0 One of the things that’s particularly hard for artists and bands. Continue reading
The post How many music genres are there? [Bobby Owsinski] appeared first on Hypebot.

The effect of Beyoncé’s Homecoming on the Dance Music GenreBeyoncé’s RENAISSANCE may have caused controversy at the Grammys, but its positive impact on the career of seasoned dance musicians like Honey Dijon and Big Freedia is undeniable. by Harry Levin from. Continue reading
The post The effect of Beyoncé’s Homecoming on the Dance Music Genre appeared first on Hypebot.

Q&A with Jenny LewisPhotos by Bobbi Rich

Headlining coast-to-coast shows with her Joy’All Ball, joining the Beck and Phoenix Summer Odyssey tour, and in performances from Madison Square Garden to The Hollywood Bowl as a member of The Postal Service on their historic 20th anniversary tour with Death Cab for Cutie: With the release of her fifth solo record, Joy’All, Jenny Lewis is undeniably high-profile.  

From a show business family, Lewis successfully survived her extensive childhood acting career to first emerge musically with Rilo Kiley, a band whose pensive songs became touchstones for a coming-of-age generation in the new millennium. Her solo debut Rabbit Fur Coat (with The Watson Twins) cast her as a sympathetic chanteuse cloaked in vintage fashion, imbued with quirky, approachable cool. 

As the title might indicate, the Blue Note/Capitol release, Joy’All, helmed by Nashville producer Dave Cobb, is charmingly upbeat, in contrast to the paradoxical asides, existential truths, and new chapters of hard-won wisdom that are revealed within. 

Music Connection: Greetings, Jenny. It certainly seems as if there is a huge upswing in your media visibility at this moment.

Jenny Lewis: I think it’s just all happening at once. I’ve been in The Postal Service for 20 plus years. I’ve been doing my own music since 2006, and then I’ve been in a bunch of side projects. So, I’m always doing a couple of things at once, but the culmination of this 20-year anniversary tour with my album release so close by is definitely a lot. I hope people aren’t going to get sick of me—because I’m sick of myself! 

MC: When do you sleep?

JL: I sleep on a tour bus in the fetal position, with earplugs, a sleeping mask, and a night guard. It’s very cute. 

MC: You are featured on a new segment of the television show, Austin City Limits. It is so interesting how the songs from the latest record translate in a live context. “Love Feel,” for example, is a barnburner. 

JL: Austin City Limits is so cool, because you get to do your full show, 70 minutes, or whatever you’re playing on the road, and then you get to pick the songs for the edited segment. But they make you pick the songs as soon as you walk off of the stage. So, you’ve just done this incredible thing with multiple cameras and a live audience, and then they say, “Okay—pick the songs now.” So, in keeping with the album cycle, obviously the new ones are the most exciting, but that was my third performance on ACL, so I had to remember what I had played in 2014, and with Rilo Kiley. So, it’s kind of a stressful situation.

MC: You write by yourself, correct?

JL: I do. I have, in my career, also written with my boyfriends, who I have happened to be in bands with. My co-writing has been pretty much limited to within these relationships. I never have done co-writes with any other writers in Nashville, or artists.  For me, the most important thing has been finding my autonomy as an artist in the world, and honing in on my true voice. On this record, I really wanted it to be conversational. And going into the studio with Dave Cobb, talking about what we were going to make, I made it very clear to him that I wanted the vocals and the stories to be very present, as if we are having a conversation throughout the record. 

MC: Joy’All is so mellifluous, so when lyrics come in that are edgier, deeper, and darker, it’s an interesting contrast. There is a lot of air in the sound of the record, enhancing the vocal clarity. 

JL: It’s very sparse. We cut it live on the floor at RCA Studio A in Nashville. It is just incredible to be in that building, and we cut it to tape. Dave is a big fan of miking the drums Beatles’ style, and it was a very small band. After we cut it live, Dave wanted me to play all of the keys, and all of the other additional parts. So, he would hum something, and I would play it on the piano, or the Mellotron, which we used quite a bit. 

I think he wanted to keep it true to the demos that I had cut at home in Nashville on my iPhone, because I don’t have a computer, so I do everything in Garage Band. And then when we mixed the record I thought, “This is a Nashville record, I’d love to have some pedal steel, and some extra bits, frequency-wise.” So, we had Greg Leisz play pedal steel on a handful of songs, and then added Jon Brion, who shares a space with Greg Koller who mixed the record. I got to be in the studio with Jon as he was listening to the songs and finding those moments, like on “Apples & Oranges,” it’s a B-bender guitar.

MC: “Apples & Oranges” reminds us of Tommy James and the Shondells. 

JL: Oh wow, you picked up on that! We had a “Crimson and Clover” tremolo on pretty much the entire track. Initially, we went overboard, but it’s in there. So you are feeling that tremolo, but it’s more in the mix now. I’m a big Nuggets (historic ‘60s garage bands) fan. I love all that. I would love to make a record one day that is as rough sounding as some of those recordings. 

MC:  You are certainly candid in sharing what seem to be autobiographical elements in your songs. 

JL: I am creating a story. There is a twist in Rilo Kiley’s “Does He Love You.” That’s not a true story, but there are elements within the story that ring true. That song was inspired by “Escape (The Piña Colada Song)” by Rupert Holmes. I wanted to write something with a twist in the last verse. Real life is interesting. I have had such an interesting 47 years on the planet: growing up in a musical family in Hollywood, in the Valley, a ton of family stuff went on, so it’s always been right there for me to channel and write about. I’m just trying to get it down on the page, because it keeps happening. It’s wild stuff!

MC: Having grown up in a show business family, one of the lessons you probably learned early was it is not all glamor and glitz. 

JL: In my family we were working class musicians, three generations of vaudeville performers, dancers, musicians; Las Vegas and Alaska lounge performers. My dad was in prison for a couple of years. He taught guitar to some of the guys up there. Music is the through-line in good times, prosperous times, and in tragic times. It’s always the music that has kept us together, and luckily I am a songwriter—the first songwriter in my family. So, I’ve been able to carve out a little spot for myself, because I am creating the material. But I come from covers, because my whole family would do them. And they were so good. But they didn’t write for some reason. That’s what differentiates me from the rest of my crew. 

MC: The process of writing the songs for Joy’All came from an online songwriting workshop. Tell us about it. 

JL: Part of the record was written during a songwriting workshop that Beck put together in 2021 during the pandemic, while we were still at home. I had about half of the songs for the record already written. The workshop included a very eclectic and awesome group of people.  Adam Green (Moldy Peaches), Sean Lennon, and Devendra Banhart who was there in the beginning. We would have prompts: write a song with 1-4-5 changes; write a song of all clichés—which is “Love Feel.”  The prompts would come, and we would write and record and send the song to the group a day at a time. It’s not something that I had ever done before. I write from this magical channeling zone. You don’t know where it comes from, and then a year later you are like, “Oh, that’s what that song is about.” Writing with prompts, you will never run out of things to write about. 

MC: Songwriters will talk about sometimes channeling lyrics and melodies that seem pre-existent. 

JL: There are different ways to it. Some people sit down every day to write. I imagine Ben Gibbard (Death Cab for Cutie, The Postal Service) is very regimented with his schedule in writing. I’m writing every day, but it’s a little more freeform; not sitting down, but I’m out in the world where something will occur to me, and I’ll grab my voice notes, and go back home and figure it out on piano or guitar.  

MC: Do these fragments then become the centers of songs?

JL: For the most part, a feeling or an idea, or I will be jamming in my music room. I have this drum machine that J.J. Cale used on his records, so I might hit that, and I’ll have my guitar or bass, pick a key, and then something will come out of that. I will typically carve it into existence over a period of time. But sometimes songs arrive fully formed like “Just One of the Guys,” from The Voyager. That one just arrived, and I don’t know how it happened. Then the homework comes. I am always editing up until I record the song. And I’ll record it on my phone and work on the lyrics as I’m overdubbing drums, bass, and keys. I will do everything, and the lyrics come out of the production, as I’m figuring it out. Once I am going in the studio I will continue to edit the lyrics until the day of— moment of, occasionally.

MC: We think of the meaning of words versus the sound of words. We like the use of the word “ruminate,” in the line from “A Puppy and a Truck” that says “…Time to ruminate/What the fuck was that?”

JL: (Laughs) If there is a word for the pandemic, it would probably be “ruminate.” I spent March to October 2020 at my house in California, until I took a flight to Nashville that fall. I took it very seriously, and in some ways it was very good for me. I was totally alone. I had nothing on the books for the first time since I was a kid. When you are a performer, there is always this underlying anxiety. If you have a show coming up, it’s just part of the gig.  So, all of that went away. For the first time in my life, I felt totally free. Obviously, I was scared, and experiencing everything everybody else was, but I felt off the hook.

MC: For some, it was a good excuse to grow a beard. I bet you didn’t.

JL: I didn’t grow a beard, but I grew two marijuana plants that were, like, six feet tall. I grew them legally! They were beautiful. I did it totally on my own. Grew, trimmed, cured, jarred…it was absolutely incredible. 

MC: And you acquired a dog, Bobby Rhubarb, immortalized in your song “A Puppy and a Truck.”

JL: I was never able to have a dog before. I’ve been on the road for 26 years, out there playing music, so my real life has definitely taken a back seat.  Having a couple of years at home and being able to take care of an animal like that has changed me in such an amazing way. And I’ve become a bit of a stage mom, as is the family tradition. So Bobby Rhubarb has an Instagram account, and when we go out in the world some people say, “Oh look! It’s Bobby Rhubarb!”

MC: The song “A Puppy and a Truck” is so likeable. 

JL:  Thank you. I was very dear friends with Jimmy Buffett and his family. I was so lucky to be able to spend time with them, and learn how to be off the road. Jimmy had two dogs, they were with him everywhere, and there was this joy for life. And if you are hanging out with the Buffetts, you are getting in the water, even if you don’t want to. I’m not a beachy or boaty person, but they were like, “Get in the water Lewis,” and the dogs were there. Jimmy inspired “A Puppy and a Truck”. We miss him so much. 

MC: You reference the late Nashville artist from the early ‘60s, Skeeter Davis, as an influence on Joy’All. She is an artist who is sometimes underestimated. 

JL: We know her songs, but we don’t know it’s her singing them. What a great songwriter. I made the record and I was doing the album cover photo shoot at my house in Nashville with my friend Momma Hotdog—Bobbi Rich—and we went into this vintage store to look for something for me to wear. On the wall of this place called Black Shag Vintage was a green and white striped suit. We pulled it down, and it said it had belonged to Skeeter Davis. The reference for the album cover was a classic Skeeter Davis photo, and I’m wearing her costume on the cover of Joy’All. There are these signs from the universe that you’re on the right path. If you pay attention, they are there. 

MC: You toured with Harry Styles—what an interesting pairing. 

JL: It was the first show out of the pandemic that I did in the fall of 2021. I was terrified. I was vaccinated, but I am asthmatic. There were a lot of emotions. Harry picked me to open the tour—it wasn’t a business thing. It was everyone’s first shows back. The crowds were so loving, and so open, and beautiful, and sparkly with feather boas—a beautiful way to come back to playing music and a massive undertaking. I had never done a tour this big, but it felt intimate because we were in our bubbles. There was no press, no one backstage, and we didn’t eat in restaurants. So it was like the biggest indie tour that ever existed. It felt DIY, although it was massive. 

MC: A question based on your lyrics from the title song, “Joy’All.” Do we all get a little bit wiser every day?

JL: I think we do. That’s the paradox of being a human being—we are getting wiser but our bodies are deteriorating. You come into the world so innocent, but the older you get, you learn a little more. Hopefully, you learn to be more compassionate—especially to be more compassionate with yourself, which is so important.  

MC: Your astrological sign is Capricorn. Do you like to plan?

JL: I’m a Capricorn, so I’m climbing the mountain steadily, slowly but surely. As a kid, I used to make these handmade calendars. I couldn’t wait until the end of the school year. I am a planner by nature, but I’ve been doing a meditation practice since the first of the year, so I am trying to be more in the moment. With my schedule, I am forced to plan about three days in advance. I’m trying to enjoy the day, the moment, and the hour. 

Onstage, especially doing this tour with The Postal Service, we played three sold out shows at the Hollywood Bowl. And there were a couple of moments where I just had to say, “Take all this in right now. Take a breath and look out, because this is as wonderful as it gets. This may not happen again. Be present in the moment. Be grateful.” I looked out, and I wasn’t nervous at all. 18,000 people out there, and I felt so connected to L.A., so connected to 20 years of this record, and my other records. It’s important to be in the moment, and appreciate these beautiful times. 

JL: I think we do. That’s the paradox of being a human being—we are getting wiser but our bodies are deteriorating. You come into the world so innocent, but the older you get, you learn a little more. Hopefully, you learn to be more compassionate—especially to be more compassionate with yourself, which is so important.  

MC: Your astrological sign is Capricorn. Do you like to plan?

JL: I’m a Capricorn, so I’m climbing the mountain steadily, slowly but surely. As a kid, I used to make these handmade calendars. I couldn’t wait until the end of the school year. I am a planner by nature, but I’ve been doing a meditation practice since the first of the year, so I am trying to be more in the moment. With my schedule, I am forced to plan about three days in advance. I’m trying to enjoy the day, the moment, and the hour. 

Onstage, especially doing this tour with The Postal Service, we played three sold out shows at the Hollywood Bowl. And there were a couple of moments where I just had to say, “Take all this in right now. Take a breath and look out, because this is as wonderful as it gets. This may not happen again. Be present in the moment. Be grateful.” I looked out, and I wasn’t nervous at all. 18,000 people out there, and I felt so connected to L.A., so connected to 20 years of this record, and my other records. It’s important to be in the moment, and appreciate these beautiful times. 

Contact Jillian Condran, jillian@nastylittleman.com

Quick Facts

•The song “Psychos” from Joy’All became the first Jenny Lewis song to hit No. 1 on the Adult Alternative Airplay chart. 

•The Jenny Lewis touring band is currently comprised entirely of female musicians. 

•As an actress, Lewis appeared in over a dozen teen movies, including Troop Beverly Hills. Cast in a multitude of episodic television guest spots, she also played Lucille Ball’s granddaughter in the short run of the Life With Lucy sitcom.

•Her 2014 full-length The Voyager was an emotional compendium influenced by Rilo Kiley’s demise, and the death of her father, Eddie Gordon. 

•Among Lewis’ past side projects was the duo Jenny & Johnny, with Johnathan Rice, with whom she shared a 12-year relationship. 

•Following her breakup with Rice, Lewis shared an apartment in New York with Annie Clark, aka St. Vincent. With friend Tennessee Thomas and Erika Foster, she performed as Nice As Fuck, and released a one-off collection in 2016.

•Also in 2016, Lewis flew to Haiti with Jackson Browne, to join a cast of global musicians in a benefit project called Let The Rhythm Lead: Haiti Song Summit, Vol.1. In her song “Under The Supermoon,” Lewis finds solace from the world’s problems among her new Haitian friends. She performed the song with Browne and Malian vocalist Habib Coite’.

•A line in “Under The Supermoon” chronicles her reaction to the 2016 Presidential election with this couplet: “I’ve never had such a fright/I gasped on election night.” 

•Past Lewis recordings have enlisted illustrious players like Ringo Starr, Jim Keltner, and Benmont Tench from The Heartbreakers. 

•The video for “Puppy and a Truck” includes a character wearing a dog suit. As he removes the dog head in the concluding shot, the character is revealed to be Harry Styles.

Sony Music’s artists aren’t involved in YouTube’s new voice-cloning AI experiment. Not unrelated: Google’s recent filing with the US Copyright Office.MBW Explains: On 'fair use', Sony Music, YouTube's AI experimentation and the US Copyright Office
Source

What Universal Music Group really thinks about generative AI and copyright law…MBW has digested UMG's revelatory 99-page submission to the US Copyright Office on generative AI. Here's what we've discovered.
Source

DIY Spotlight: Abigail BarlowA lot has happened to Abigail Barlow during her career already. As one half of Barlow & Bear, she won a Grammy for The Unofficial Bridgerton Musical, in the Best Musical Theater Album category in 2022, despite Netflix filing and later dropping a lawsuit.

She has a new single called “Rock Bottom,” which she has released herself, despite label interest following that Grammy win. She’s had an up-and-down time of it, and the song sees her reflecting on that. To be fair, it’s been quite a journey.

“I’ve been singing and dancing since I was a wee babe, but songwriting became a main focus of mine in my teenage years,” she says.

Barlow describes her solo sound as Katy Perry-meets-Alan Menken. 

“I love the bubblegum pop sound of the 2010s, with the theatrical storytelling and timeless melodies of the mastermind behind so many of my favorite Disney musicals,” she says. 

As well as the “Rock Bottom” single, Barlow’s Princess Pop album will be released early in 2024.

“‘Rock Bottom’ is the first single off my album Princess Pop: A Musical Fable, dropping in 2024,” she says. “This project has been a way to tell my story. To let my fans in on my POV, experiences I’ve had, and lessons I’ve learned. Each song was written with a different crew of collaborators at different times over the last two years, and tells a piece of my story through the lens of a different fairytale.”

Having made the choice to do this herself, Barlow has no regrets.

“The music industry is not what it once was, and that’s great in some respects and not so great in others,” she says. “As an independent artist, I try to look at the silver lining that being DIY means owning all of my music, having creative power over my project, and integrity in what my brand and messaging is.”

For more information, visit abigailbarlowmusic.com.

Spotify confirms royalty changes, predicts $1B more for (some) artistsSpotify has officially confirmed a series of previously reported changes that will eliminate royalties for many small artists, along with renewed efforts to punish streaming bots and reduced royalties for. Continue reading
The post Spotify confirms royalty changes, predicts $1B more for (some) artists appeared first on Hypebot.

CD Baby Celebrates 25 Years Supporting Independent MusiciansD.I.Y. music distributor is celebrating its 25th Anniversary! Founded by musician Derek Sivers to serve musicians, CD Baby has been a steady hand guiding artists through the ever-changing music industry. Continue reading
The post CD Baby Celebrates 25 Years Supporting Independent Musicians appeared first on Hypebot.

How to make money from cover songs on YouTubePosting cover songs is not for every artist. However, if you’re still struggling to get noticed it’s a great way to kick off your career and even start making money.. Continue reading
The post How to make money from cover songs on YouTube appeared first on Hypebot.

Warner strikes partnership with Small World Records, founded by Ghanaian music entrepreneur SmallGod"SmallGod is a brilliant tastemaker, marketeer and visionary," said Max Lousada, CEO of Recorded Music at WMG
Source

‘The music industry makes the ticket-buying process hard. I’d like to see us focus on the user experience.’MBW's Inspiring Women series meets AEG Presents Chief Digital Officer, Brooke Kain
Source

62% of TikTok users in the United States pay for a music streaming service (report)A TikTok-commissioned study by Luminate found that TikTok users are more likely to pay for a music streaming subscription, and spend more on music, than other consumers.
Source

Universal prevails in lawsuit alleging it owed artists $750m in Spotify royaltiesA US District Court judge has ruled that UMG had 'wide discretion' in negotiating royalty rates with Spotify
Source

New Mountain Capital Announces Majority Growth Investment in BMINew Mountain Capital, LLC, (“New Mountain”), a leading growth-oriented investment firm with over $45 billion in assets under management, announced today that it will lead a shareholder group to acquire Broadcast Music, Inc. (“BMI”), the world’s largest performing rights organization (“PRO”). Headquartered in New York, BMI protects the rights of and advocates for more than 1.4 million songwriters, composers and music publishers (“affiliates”). BMI secures royalties for its affiliates by offering licenses to businesses for the performing rights in 22.4 million musical works. Mike O’Neill, BMI’s President & CEO, will continue to lead the company, along with his leadership team, following the closing.

New Mountain will acquire the company from the shareholders who own BMI today. New Mountain has also reserved additional capital to fund growth investments, new ventures and technology enhancements to help accelerate BMI’s long-term plan to maximize distributions for its affiliates and improve the service it provides to songwriters, composers and publishers.

As part of the agreement, and in recognition of the creativity of the songwriters, composers and publishers they have had the privilege to represent, BMI’s current shareholders will allocate $100 million of the proceeds of the sale to affiliates shortly after the transaction closing. The allocation of those funds, while not a distribution of royalties, will be in keeping with the company’s distribution methodologies, which are based on performance levels over a set period of time. BMI will work to finalize an equitable payout plan for this allocation in the coming months.

“Today marks an exciting new chapter for BMI that puts us in the best possible position to stay ahead of the evolving industry and ensure the long-term success of our music creators,” said Mike O’Neill, BMI President & CEO. “New Mountain is an ideal partner because they believe in our mission and understand that the key to success for our company lies in delivering value to our affiliates. We are excited about the many ways New Mountain will accelerate our growth plan, bringing new vision, technological expertise and an outstanding track record of strengthening businesses, all of which will help us build an even stronger future for BMI and our songwriters, composers and publishers.” He added, “I would also like to thank the BMI Board of Directors and BMI’s shareholders for their excellent stewardship and unwavering support of our creative community since the company’s founding in 1939.”

“BMI has been a trusted guide and champion of music creators from the beginning, and we are privileged to work with the company and its 1.4 million affiliates to build on that incredible legacy,” said Pete Masucci, Managing Director at New Mountain. “There are numerous growth opportunities ahead for BMI with significant potential to generate more value for the work of its songwriters, composers and publishers. We look forward to working together alongside Mike and his team to capitalize on those opportunities for the benefit of all BMI stakeholders.”

“While the music industry has undergone a technology-driven transformation over the past two decades, music infrastructure, including the performing rights ecosystem has been slower to transform,” said Mike Oshinsky, Director at New Mountain. “There is tremendous opportunity to modernize this critical part of music infrastructure and ensure that long term royalty collections for songwriters, composers and publishers continue to grow. With our support, BMI is ideally positioned to drive this transformation as the only PRO in the world to combine an open-door policy to all music creators with the innovation and commercial drive of a for-profit business.”

Growth Plan to Accelerate Value for Affiliates

New Mountain’s motto is “building great businesses,” and it brings to BMI significant experience partnering with management teams to grow and add value to the benefit of all constituents. The firm has added or created nearly 69,000 jobs, net of job losses across all of its current and past portfolio companies, has invested over $7 billion into research and development, software, and capital expenditures and generated an estimated $79 billion of enterprise value gains.

New Mountain’s growth investment in BMI will accelerate the company’s ambitious value creation plan, which has three core tenets:

First, to continue to grow cash distributions for its affiliates.

Second, to invest in next generation technology platforms and new service offerings that will improve royalty collections, enhance BMI’s customer service, and deliver the best possible experience for its affiliates.

Third, to add new revenue streams driven by organic growth investments and M&A opportunities, with an initial focus on improving general licensing royalty collections, international partnerships and new service offerings. New growth investments will create additional opportunities for distribution income for its affiliates. 

New Mountain’s investment does not change the distribution targets previously communicated, which is the same approach the company followed in calendar year 2023 and which it will follow moving forward. For the calendar year, BMI targeted a payout of 85% of its licensing revenues and delivered +11% growth in cash distributions to affiliates over 2022’s distributions, which were reflective of the company’s prior not-for-profit model.  

The transaction is subject to approval by BMI shareholders and customary regulatory approvals and is expected to close by the end of Q1 2024. Goldman Sachs & Co. LLC served as financial advisor to BMI and Fried, Frank, Harris, Shriver & Jacobson LLP served as its legal advisor. Moelis & Company served as financial advisor to New Mountain, and Simpson Thacher & Bartlett, LLP served as its legal advisor. As part of New Mountain’s investment, CapitalG will also invest a passive minority stake in BMI.

bmi.com

New Mountain Capital buys BMI, Songwriters & Publishers receive $100MUPDATED: A New Mountain Capital-led shareholder group has acquired BMI. Current shareholders must still approve the sale, which is expected to be completed in the first quarter of 2024. With. Continue reading
The post New Mountain Capital buys BMI, Songwriters & Publishers receive $100M appeared first on Hypebot.