Misaligned incentives make the music business a zero-sum game [MIDiA’s Tatiana Cirisano]The goals of music’s major stakeholders – labels, DSPs, and artists – no longer match, turning the music business into a zero-sum game, writes Tatiana Cirisano of MIDiA Research. by. Continue reading
The post Misaligned incentives make the music business a zero-sum game [MIDiA’s Tatiana Cirisano] appeared first on Hypebot.

Looking for a Job in the Music Business? Here is where to start.How do you get a job in the music business? This might be one of the most common questions that Mike Brandvold and Jay Gilbert are asked. On a new. Continue reading
The post Looking for a Job in the Music Business? Here is where to start. appeared first on Hypebot.

New Music Critique: OnoleighOnoleigh  Contact: michelle@pitchcandypr.com

Web: onoleigh.com

Seeking: Label, Booking, Film/TVStyle: Country-Pop, Americana

Nashville-based artist Onoleigh brings an interesting slant to her work. For example, on “Why Can’t We Dance” her naturally country voice delivers a country-sounding  song but with an electronic-pop treatment, along with some heavy-sounding rock guitar licks. And the song’s subject is impressive. It’s an anti-love song in which she proclaims to her suitor, “Make the rough edges round.  I just don’t wanna be in love!” Onoleigh gets melancholy and serious on “Tightrope” whose fiddle and twangy pedal-steel whine underscore a beautiful duet with a male singer. On the downtempo ballad “Walls,” she pays tribute to her surroundings with “You wrap yourself around me like a friend.” An artist to watch.

How indie artists can unlock the massive Brazilian music marketWith a population of 214 million, the Brazilian music market is great for artists to find new fans. Learn more about how you can get started regardless of the genre.. Continue reading
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How to network and gig swap to book a better tourLearn how to expand your professional reach by networking with other musicians and professionals and mastering the important art of gig swapping. by Adam Percy from Bandzoogle No matter your. Continue reading
The post How to network and gig swap to book a better tour appeared first on Hypebot.

You’ve written a song, now what? How to sell your musicMaking great music is only half the battle. Here’s how to get your songs off your computer and into the hands of your fans. by Philip Kinsher of Disc Makers. Continue reading
The post You’ve written a song, now what? How to sell your music appeared first on Hypebot.

Abbey Road Studios returns to back MBW’s A&R Awards on Tuesday, November 7… with Platinum tables now sold outShortlists will be announced for the event next month
Source

JKBX, music royalty trading platform, will launch September 12, aiming to become ‘transformative force in music and investing’Songs that will appear on the platform on day one will include a run of chart hits performed by artists like Beyoncé, Major Lazer, and Taylor Swift
Source

PreSonus to Host ShopTalk for Eris Studio Monitors, Studio One 6.5Get a deep dive on the latest innovations and products from the PreSonus team and special guests

Tuesday, Aug. 29 at 9amPT-10amPT/12pmET-1pmET/5pmBST-6pmBST

Since 1995, PreSonus has built solutions for musicians, content creators, producers, and audio engineers. Join for a very special virtual roundtable and product walkthrough with special guests Adrian Haselhuber, Vice President Product, PreSonus Hardware, Arnd Kaiser, General Manager, Software and commentary by ARTIST to discuss:

Capabilities of the new Eris Studio Monitors, which will offer three distinct committed producing

Recommendations and important specifics to look for when it comes to to audio and home recording technology

Integral role of Eris Monitors within artists' creation process

A close look at the Studio One 6.5 software update with native Dolby Atmos workflow, which elevates the flagship software and unlocks new mixing capabilities and enhancements

To RSVP, reach out to fender@praytellagency.com

If BMI is sold, could a cull of its huge songwriter membership be on the cards?Will BMI's new private equity owners be able to challenge the restrictive Consent Decrees that goven how the org operates?
Source

Live Nation’s Rapino enjoys widest CEO-to-Worker Fortune 500 pay gap, says studyLive Nation Entertainment President and CEO Michael Rapino got the largest compensation package of any Fortune 500 executive last year at $139 million. The package included his $3 million base. Continue reading
The post Live Nation’s Rapino enjoys widest CEO-to-Worker Fortune 500 pay gap, says study appeared first on Hypebot.

Why we MUST protect the Creative Class [SoundExchange’s Michael Huppe]President and CEO of SoundExchange, Michael Huppe, discusses why musicians and other creatives matter so much in our modern society and what we need to do to support them. Op-ed. Continue reading
The post Why we MUST protect the Creative Class [SoundExchange’s Michael Huppe] appeared first on Hypebot.

3 proven strategies to guide every Musician’s Publicity CampaignConsistent and positive publicity is a major cornerstone of every career in music. This guide will give you three winning strategies for your next PR campaign. by Wayne Martin from. Continue reading
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Out Take: Tim Burnett Tim Burnett 

VP of Business and Publishing Administration, Heavy Hitters

VP of Music Publishing Administration, Made in Memphis Entertainment

Web: heavyhittersmusic.com, mimecorp.com

Contact: Bill Greenwood, bill@jaybirdcom.com

Tim Burnett is the VP of Business and Publishing Administration at Heavy Hitters Music, a boutique song catalog and music publisher that pitches for sync placements in film, television, games and more. It’s part of the Made in Memphis Entertainment family of companies, where Burnett is also VP of Music Publishing Administration. “This job requires a love of music, obviously, but going beyond that, you have to have a knowledge of a diversity of music. Everyone has styles they gravitate to, but in the sync world, we’re looking for everything. We say that when we pitch clients. Pop may be a 10-lane highway, metal might be a dirt road, but all music has a lane. You have to be able to listen to all those styles of music and find out where they fit,” Burnett says. 

Heavy Hitters and MIME offer regular “sync camps,” during which their writers, artists and producers collaborate with other companies to create music licensing opportunities, which most recently resulted in a placement in Season 2 of the Showtime series Your Honor starring Bryan Cranston. 

“In the sync world, you don’t know what you’re going to get from day to day, which makes it exciting,” Burnett says. “Any given day we could get a brief asking for anything―something that sounds similar to Drake, or something that has a ‘60s Motown sound. We never know what someone is going to be asking for, so it’s always interesting.”  

But the amount of content available through streaming platforms is also the most challenging part of the job, Burnett says. “We’re constantly trying to identify and fill gaps in the catalog, and we also know that it is a very competitive space. Everything we’re pitching for―other companies are pitching for the same thing. That’s why it’s so rewarding when we land a placement.” 

Burnett says being a good student is one of the most valuable skills someone aspiring to work in the sync licensing world can have. “When I look to acquire talent, a willingness to learn and just being open to the possibilities is the most valuable,” he says. •

Exec Profile: Allen Sanford of BeachLife FestivalAllen Sanford

Founder

BeachLife

Years with Company: 5

Address: 239 North Harbor Dr., Redondo Beach, CA 90277

Web: beachliferanch.com

Email: info@thebeachlifefestival.com

Publicity: Angela Moreno, amoreno@falconpublicity.com, 805-390-5263

Clients: Tons of satisfied concert attendees

BACKGROUND

Allen Sanford grew up loving California’s sandy coasts. Naturally, he thought it wise to create a festival that revolved around the beach lifestyle. BeachLife began in 2019, later expanding with a second festival devoted to Americana, country, and roots music, BeachLife Ranch. Sanford and his team are also building a 15,000 square foot theater called the California Ocean Club, which will deliver the same sunny vibe all year.

Music + Beach Culture = BeachLife

Our festival is different from a lot of festivals. Most festivals aren’t created around any sort of culture. It’s more organized by genre of music. Obviously, there are a lot of festivals that are not subject to what I’m talking about. But our festival was created to serve a certain type of fan. It’s as much about the culture and community as it is the music. 

Building on Sand

Any show you do near the water makes it much more difficult to build. The stages and structures have to be designed with a lot more strength. Instead of wheeling things in, you’re using tractors. It definitely provides challenges. 

But the question of whether it’s worth it is a no-brainer. Every time the sun sets and there’s a band playing, we look at each other and go, “Yep, that was worth it.”

Many Moving Parts

I would love to tell you I never worry about anything, but that would be a lie. You’re depending on a lot of human beings to do their jobs. We have about 1,200 people working the festival. If you think about how much has to go right to have a successful festival, it’s daunting. I’ve run a lot of businesses over my career, but none that are as 3D-chess as this and with as many moving parts. 

Choosing Artists

I have a partner. After each festival, we’ll sit down and talk. We like to span generations, so we’ll go old-new-old-new. And then we spitball headliner names, with the preface that it’s got to fit within the BeachLife culture and vibe. 

And then we get at it. I do all the booking, because I’m fairly particular. It’s like putting together a video montage and you want each frame to be right. It’s one thing to get all the right frames, and it’s another to put them in the right order. 

Finding Artists

We’re not a huge festival, and we’re not trying to be a festival where the only reason somebody comes is because of the names. So, we like to pick ones you wouldn’t immediately shine after, maybe aren’t playing the festival circuits that year. I look at a lot of festival posters, and it tends to be the same artists. 

We have an area on our website where you can pitch [yourself as an artist to perform]. And we go to the agencies and ask them to send us anybody they think might fit. We have a stage for up-and-coming artists. It doesn’t matter how many fans you have; it matters how good your music is. 

Gone Country

Country music kind of gives me the same feel in my heart that the beach life does. I grew up going to the central California coast, where it’s a little more cowboy land. And I love the idea of mixing that with the cowboy-surfer mentality. Surfers are like the cowboys of the coast―riding waves and riding horses. It seemed like a cool way to send our culture into the winter. Having us on both ends of the summer seemed like a great idea. 

A Vibe of Respect

I think [throwing things at artists on stage] is super lame. I couldn’t think of a more despicable thing to do to somebody who’s putting one’s heart out there. 

I don’t think we’d ever have that issue at BeachLife, because we have a respectful culture. If we did, those people wouldn’t be welcome. That’s not what the beach life is about. At BeachLife, if you drop your wallet, somebody will pick it up for you. That’s the culture we try to promote. 

Keeping Everyone Safe

A lot of times, people who do festivals are music people. They’re not security people. And they hire an outside security company to make them safe. Many times, these companies fail. 

We wanted to take extra precaution. We brought on one of the best, a former chief of police with 30 years as a police officer. I’ve got my five-year-old daughter running around, so that’s my litmus test for how safe this festival needs to be. 

Singing the Pandemic Blues

COVID was brutal. I’m in restaurants and live music. You couldn’t pick worse verticals to be in during a pandemic. It was very tough. Luckily, we came back to a hunger for live events. That gave us the motivation to get back on our feet. It was a journey, for sure. I’m glad it’s behind us.

[The live music industry is] still finding its way. It weeded out a lot of small people, so the Live Nations are stronger than they’ve ever been. But as time goes by, more independents will pop up again, hopefully. 

Switching On and Off

The [BeachLife] app is a cool tool to help people enjoy the festival. Our whole goal is using technology to make the experience better. But we’re also not guys that love being on the phone at a show. It’s a fine line between using technology to improve the experience but also not overdeveloping to where fans are on their phones instead of enjoying the show. 

Dining On Stage

The perfect experience for me would be eating a nice meal on the side of the stage with a glass of wine. So, when we created the festival, we asked Michelin-level chefs to come. I don’t think any other festival’s doing this. We’ve had all sorts of crazy chefs, and they design their menus based on the type of artist they’re paired with. It’s another cool experience that you don’t get often in this world. 

Everything But Water Sports

We stay away from the swimming. Swimming and drinking is not a good mix. And you’d also have to bring a change of clothes and all that stuff. 

We’ve got a Kids Zone. We have a karaoke bar. We’ve got a sports lounge for those that like to watch sports. [We have] tons of shopping, tons of health and wellness. We have an arts area. We bring in a lot of musicians who are also graphic artists who sell their art. Last festival, Chad Smith, drummer for the Chili Peppers, was selling his art. We want to indulge your senses over and above the music. 

DonationLife

It wouldn’t be genuine of us to call our festival BeachLife but not care about the beach life. We have a mission statement as to whom we support. Our May festival focuses on ocean- and kid-related philanthropies, and our September festival focuses on hero philanthropies, like police, fire, and veterans. I happen to be the chairman of the local police foundation, so I’m a big supporter of first responders. The least we could do is help them raise some money. 

We do ticket giveaways. We have a big party at the beginning of Ranch for several charities. And pretty soon we’re going to be launching our own 501(c)(3) to help these same causes on a local level. I think we raised $150,000 for local charities last May. Not too shabby for an independent festival. •