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Soundgas hosting Adrian Utley charity auction Soundgas are currently hosting a charity auction for the Moog Little Phatty used by Adrian Utley as the main instrument for his tours and gigs with Portishead over the last 10 years

Kenya Grace is leading the next generation of bedroom producers: “If you can use a DAW, you can do anything you want”“I feel like I’ve learnt so much over the past few months,” says South Africa-born UK-raised singer, songwriter and producer Kenya Grace, whose enchantingly soft viral d’n’b hit Strangers reached number one in the UK Singles Chart in October. As if this achievement wasn’t enough, the track’s breakthrough also resulted in a record-breaking milestone: alongside the legendary Kate Bush, Grace is one of only two female artists to hit the top spot as a sole writer, producer and performer. Strangers also ended Doja Cat’s five-week reign at number one, and sat above all of Drake’s latest releases…. no biggie.

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Since then, Grace’s rise has been suitably stratospheric. She’s played shows across Europe and the UK; this month, she’ll head on a US tour, too. “It’s been pretty mental, especially the tour, because these are my first ever shows of this size and playing in different countries,” Grace tells MusicTech during a break from rehearsals ahead of her gig at Village Underground in London. “It’s been a very intense process.”

Her ever-growing social and streaming numbers justify such emotions. While Grace’s social media following has grown massively (on Instagram, for example, from under 100k in January to 640k now), her videos have racked up 13.7 million likes on TikTok and, with over 30 million monthly listeners, she’s currently the 126th biggest artist in the world on Spotify. It’s easy to see why Grace says her life has been “a whirlwind”, then.
However, success has been far from overnight. In fact, she’s been putting in the work for over a year, particularly on TikTok and Instagram. “It’s blown my mind how insane it’s gotten,” she says of her popularity on the video-sharing platforms. “It’s definitely changed my entire life.”

Grace grew up with music. The London-based artist – whose conversational vocal style shares similarities with Lily Allen – first got into singing thanks to the choirs she was in while at nursery. At home in Hampshire, her mum would play a lot of neo-soul music – artists like Corinne Bailey Rae and Erykah Badu – which she still loves now (“the vocals are always so on-point”). When she was in junior school, Grace got into musical theatre: “It was then that I started falling in love with singing especially”. After being given a keyboard, she began to write her own songs at home.
Pure and innocent this journey may seem, it’s only half of Kenya Grace’s musical experiences. Going to illegal raves, house parties, and festivals as a teenager led to Grace discovering her favourite genre: drum ‘n’ bass. “It’s always been d’n’b,” she says, citing Camo & Krooked and Chase and Status among her favourites.
Kenya Grace, Image: Bella Howard for MusicTech
“Basically every person I knew was a DJ or an MC at that time,” Grace recalls. She also feels that being from Southampton – by the bass-heavy Boomtown festival – had an impact. “I fell in love with the sound; when you go to a club or illegal rave and you hear the bass and drums that loud… it changed something in my brain. I was like ‘this is fucking it! I love it.’”
It was around this time that, while studying music at college, Grace taught herself music production. Inspired by what Kaytranada and Disclosure were releasing – “it was that era when they were topping the charts everywhere; I was obsessed” – she was keen to follow in their footsteps. Despite her course not having much of a focus on music tech or production, Grace’s self-imposed dedication resulted in her staying behind after college to teach herself how to use Apple’s DAW, Logic Pro.
“It’s such an empowering time – back in the day, it would have cost thousands of pounds to get a studio and now it’s relatively affordable and you can have it in your house”
But it wasn’t an easy start. It took her a lot of time to learn the ins and outs of the software. Some time later, Grace dived into YouTube tutorials, which “changed everything,” teaching her the fundamentals of Logic Pro and music production.
This confidence-boosting development came at the right time as, post-college, Grace’s fellow producer friends were asking her to record vocals for their projects. “Once I had a little more knowledge of what was going on, and watching other people on Logic, I felt more confident about going into [recording] sessions.”
Kenya Grace, Image: Bella Howard for MusicTech
Studying what her peers were doing led to an epiphany. “I clocked in my head that if I wanted to release music, I was going to have to be able to make it – and make it on a computer – so I could eventually release it.” Despite this, Grace says she “could never voice what I wanted to say and how I wanted it to sound. I then realised, ‘I have to make myself good at this so I can actually do it’.”
After she mastered the production side of things, Grace began sharing snippets of her songs with the world via TikTok and Instagram Reels. Mostly recorded in her bedroom, Grace’s simplistic videos – on which she was either perched on her bed with her Native Instruments Maschine and Aston microphone or sat with the same equipment but in her garden – conveyed a very DIY ethos.
Kenya Grace, Image: Bella Howard for MusicTech
Filming herself singing and building the songs from scratch arose from her love of watching videos of beatmaking and finger drumming (“I just think it’s really cool”). Grace thinks this setup, in particular, is engaging to see. “The Maschine and the singing; I see so many cool musicians doing different things on TikTok like that, and I think it fits in there.” This performance style has since crept into the eye of the mainstream, thanks to artists like Grace and the viral videos of Fred Again..’s explosive Maschine performances.

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Switching between backdrops helped to keep her content intriguing, she considers, although points out that “it wasn’t a calculated decision”. It was purely because she would get bored of doing something one way, and then decide to try something else. “I always want to keep it interesting and try new things,” she says of her approach to social media.
After lots of “random posting”, she started to find an audience: her 2022 single Oranges reeled in over one million Spotify streams, the 2023 follow-up Afterparty Lover surpassed three million, and Meteor blasted off to the tune of four million. But it was Strangers which sent Grace’s career stratospheric: as well as climbing to the top of the UK Top 40, it currently sits at 337 million streams on Spotify alone and has soundtracked over 1.4 million different Instagram reels.
Not bad for a track that Grace and her team initially had “low expectations” of.
“The best thing I ever did was teach myself how to produce – even just in a basic way. If you can use Logic Pro, you have so much power. You can literally do anything, at any time, anywhere you want”
“We were going to release a different song originally, but, after we left it on TikTok and Instagram for a few weeks, something happened and it exceeded everything,” she recalls. “I knew something was slightly different with that video, just because so many more people were using the sound [on their own TikTok videos], so I noticed a difference there… but I did not expect it to be like this. I don’t even think I tried that many things, that’s the craziest thing,” Grace recalls, having uploaded the video only three separate times. In an age where constantly feeding the algorithm and persistently changing up content is often key to viral success, her clips for Strangers connected relatively quickly – much to Grace’s surprise.
“It’s been absolutely mental,” she says.
Kenya Grace, Image: Bella Howard for MusicTech
The track has led to Grace infiltrating myriad online niches – ranging from the gamer community to anime fans and petrol heads. The latter was particularly surprising. “It’s so cool,” she says. “I didn’t realise the car community was such a big thing. I had no idea about it until this,” she adds. “I feel like I’ve learned about so many different groups of people.”
The success of Strangers, and that of its ethereal trance-meets-breakbeats follow-up, Only In My Mind (which has clocked up nearly 12 million streams on Spotify), has resulted in Grace playing a string of headline live shows.
Recently, she trialled her works in progress, including freshly-released single Paris, for fans during an in-the-round gig at Corsica Studios in London. “It was so scary,” she says, after performing to just over 300 hardcore fans while streaming live to her TikTok and Instagram. “It was the first time I had ever performed all these songs and the crowd were so supportive of me.” Despite a few technical mishaps, Grace is happy to report that “the vibe was absolutely amazing. I’ve never had people sing my lyrics back to me before, but they were singing along.”
Kenya Grace, Image: Bella Howard for MusicTech
This month, she’ll head out on her first live tour across America. Having been in rehearsals the week that MusicTech speaks to her, she details her show as a live/DJ hybrid. “At the moment, the set is me, the Maschine and singing,” she says. “Everything is connected; I made loads of transitions to go in between songs… Hopefully people like it.”
While Grace says she tries not to plan too far into the future “because it makes me so stressed”, she hopes to release an EP or a similar small project. “I have so many songs that I’ve put online but never released”, she teases; “and I feel like some of them need to live on Spotify now.” Although she doesn’t have an exact release date, she’s excited to get more music out into the world and, one day, release an album – “That’s my dream.”
Though Grace’s output will remain a solo project, she’s also open to more artists joining her on her journey. “I really would love to do collabs but I feel that with this project I’ve been making, I have done everything myself, so I want to get that out and then move on afterwards.”
Kenya Grace, Image: Bella Howard for MusicTech
Alongside multi-talented artists like herself, PinkPantheress, Nia Archives, Venbee and Charlotte Plank, Grace has undoubtedly helped to birth a new generation of DIY bedroom producer. “I love it,” Grace says of the increased accessibility; “I feel like it’s such an empowering time. Back in the day, it would have cost thousands of pounds to get a studio and now it’s relatively affordable and you can have it in your house.”
She’s eager to spread this message and encourage others to follow suit. At the end of a recent show, a fan approached Grace and asked what her tips would be for aspiring musicians. “For me, the best thing I ever did was teach myself how to produce – even just in a basic way,” she recalls. “If you can use Logic Pro, you have so much power. You can literally do anything, at any time, anywhere you want.”
Beyond that, her advice is: “get on TikTok and Instagram; it’s a huge marketing tool in your pocket. It’s insane. You see it so much with so many people – how many people you can reach, how many people have had their lives so greatly affected just by making videos.”
Kenya Grace, Image: Bella Howard for MusicTech
She recognises that it doesn’t happen for everyone, or straight away, however: “It’s tough – it’s really hard sometimes. You get bad comments, or your videos don’t reach anyone, and there are a lot of things that stand in the way. But, once you do have a moment where you can cut through a little bit, it’s really amazing.”
With artists like Kenya Grace at the forefront of an ever-expanding and endlessly exciting online scene, the future of bedroom beatmaking comfortably remains in inspiring hands.
The post Kenya Grace is leading the next generation of bedroom producers: “If you can use a DAW, you can do anything you want” appeared first on MusicTech.

From Sony Music’s deepfake takedowns to iHeartMedia’s $100m BMI sale proceeds… it’s MBW’s Weekly Round-UpThe five biggest stories to hit our headlines over the past seven days.
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Audiolatry Releases RetroSynth And FREE RetroSynth Lite Synth Plugins
Audiolatry just released the RetroSynth and RetroSynth Lite virtual instrument plugins for Windows and macOS. RetroSynth is now available for €8, which is 71% off the list price of €28, and the RetroSynth Lite is free! The sounds for the RetroSynth Lite are based on vintage synthesizers, although Audiolatry has added manipulation with effects for a [...]
View post: Audiolatry Releases RetroSynth And FREE RetroSynth Lite Synth Plugins

Spotify Wrapped live in London: A Top Of The Pops-style end-of-year celebration at IKEA-turned-superclub DrumshedsSince its arrival almost a decade ago, Spotify’s ingenious digital marketing tool Wrapped has grown from a platform for stans to prove their dedication to a cultural moment in its own right.
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However, until this year’s edition, the meme-spawning phenomenon – whose new-for-2023 highlights include an AI DJ and video messages from artists for their top fans – has remained a virtual affair. Yes, it’s dominating Instagram stories and rightfully sparking discussions on fairer artist pay and shady data collection, but there’s not yet been a physical manifestation to match the frenzy on socials.
That all changed last night (30 November), however, as the debut Spotify Wrapped live show brought a handful of the year’s biggest breakthrough artists (and some well-established names) to Tottenham’s IKEA-turned-superclub, Drumsheds.
Spotify Wrapped Live. Image: Getty
Live-streamed so that those not lucky enough to bag a ticket could still watch, albeit from the comfort of their homes, the choice to broadcast the first Wrapped on TikTok made perfect sense – especially because many of the songs performed throughout the show first went viral on the platform.
The lineup skewed towards 2023’s most popular genres (d’n’b, rap, pop and Afrobeat) and felt like an edgier counterpart to next weekend’s comparatively-commercial Capital FM Jingle Bell Ball at London’s O2 Arena. With the Wrapped hosts, social media favourites Harriet Rose, Big Zuu and Max Balegde, mingling among the crowd on the dancefloor and chatting to celebrity special guests including Louis Theroux, it also felt like a throwback to Top Of The Pops.
Spotify Wrapped Live. Harriet Rose, Big Zuu.Image: Getty
Kicking the night off with a vocally and visually impressive performance of their number one hit Unholy, Sam Smith took to a square stage in the middle of the crowd and was joined by a troupe of suited men inside what looked like a box made out of neon lasers. On the same stage, chart-topping MusicTech cover star Kenya Grace brought her d’n’b-pop hit Strangers to vibrant life in front of pink strobes; Libianca glowed in a ruffled golden dress while delivering the strongest vocal of the night with her track People; and Charli XCX raced through a UK-exclusive live rendition of her huge Barbie-soundtracking hit Speed Drive.
Spotify Wrapped Live, Chase & Status. Image: Press
Spotify Wrapped Live, Sam Smith. Image: Press
Towards the end of the show, the action moved to the huge main stage as London rapper Strandz and a group of dancers worked the runway for Us Against The World, before Chase & Status closed proceedings with their bass-heavy top-five smash Baddadan. Considering d’n’b’s mainstream renaissance this year, scheduling the latter as the finalé made a real statement.
Overall, the pacing of the night’s individual sets felt a little rushed and the general consensus on the train home concluded that there was too much filler chat between acts. Nonetheless, it was undoubtedly a fun way for fans (and industry types) to catch a glimpse of some huge names in quick succession.
Spotify Wrapped Live. Image: Getty
While the sprightly show may have only lasted for just over an hour, with each performer allocated just one song, the first Wrapped delivered on its aim: to present a concise yet sonically-diverse snapshot of the year’s most popular music trends. If Wrapped Live is to become an annual event, we’d like to see more focus on the music next time.
The post Spotify Wrapped live in London: A Top Of The Pops-style end-of-year celebration at IKEA-turned-superclub Drumsheds appeared first on MusicTech.

Jenny Hermanson, Spotify’s MD for the Nordic region, to exit company after 14 yearsSPOT's Sweden-based MD for the Nordic region, Jenny Hermanson, is leaving the company
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Hainbach says his 1 million annual Spotify streams earned him $2,160 before taxBerlin-based electronic composer Hainbach has detailed his earnings from the 1 million streams he’s garnered from Spotify this year.

READ MORE: UK government intervenes after London Mayor rejects plans for MSG Sphere in the city

Breaking down the data in a thread on X/Twitter, Hainbach shares that one of the main drivers behind the numbers is his instrumental track The Guide.
“Since I released it in 2020 it has gathered 560,000 views, and stills finds about 12,000 listens per month,” he writes.
“Another surprise hit was The Wooden from my album Voice Magnetic on Seil Records with 116,000 listens in 6 months. I made this with the most hated-on instrument of recent times, the Teenage Engineering Choir.”
As for the, ahem, million dollar question, ‘How much do a million streams a year pay?’ Hainbach reveals that “It averages out at about $2160 a year or $180 per month for me, before tax. Nothing to sneeze at, it covers my utilities bill.”
That said, the musician adds that Bandcamp or going to a live show is “still the best way to support me and other artists”.

(1/5) I am super-stoked about reaching 1 million streams this year on @Spotify – it means the world to me that so many of you are listening. Thank you! (But how much is that in cash? Look below) #SpotifyWrapped pic.twitter.com/zOi99JNF5V
— HAINBACH (@Hainbach101) November 30, 2023

Spotify has long come under fire for its modest payouts to musicians, with “Weird Al” Yankovic putting the streaming service’s artist payout system on blast this week on his Spotify Wrapped video.
“It’s my understanding that I had over 80 million streams on Spotify this year,” Yankovic said in the clip. “So, if I’m doing the math right that means I earned $12. Enough to get myself a nice sandwich at a restaurant. So, from the bottom of my heart, thanks for your support, and thanks for the sandwich.”

The legend Weird Al criticizing what Spotify pays artists in the video he made FOR Spotify. pic.twitter.com/wASQunepBg
— Ray Padgett (@rayfp) November 29, 2023

Last month, Spotify announced that it would phase out operations in Uruguay after the country passed a law requiring “equitable renumeration” for artists.
Citing the new law’s ambiguity as the primary reason behind its cessation of operations in the country, the streaming giant said that “changes that could force Spotify to pay twice for the same music would make our business of connecting artists and fans unsustainable.”
“Without clarity on the changes to music copyright laws included in the 2023 Rendición de Cuentas law – confirming that any additional costs are the responsibility of rights holders – Spotify will unfortunately begin to phase out its service in Uruguay effective January 1, 2024, and fully cease service by February,” says the company.
The post Hainbach says his 1 million annual Spotify streams earned him $2,160 before tax appeared first on MusicTech.

RELEASE DETAILS
Release title:
TROOPS
Main artist name:
Kazi
Release date:
1st Dec, 2023
https://publme.lnk.to/TROOPS
#newmusic #Release #Music #indepedent #artist #hiphop #rap

UK government intervenes after London Mayor rejects plans for MSG Sphere in the cityThe UK government has intervened to stop London Mayor Sadiq Khan from torpedoing plans for London’s controversial MSG Sphere.

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According to The Standard, levelling-up secretary Michael Gove has ordered a six-week pause as he considers calling in the mayor’s decision to pull the plug on the development of the Vegas-style venue in Stratford, East London.
Mayor Sadiq Khan rejected MSG’s plans to build the sphere last week, siding with local residents and councillors who raised concerns about health risks, light pollution, and strains on local infrastructure and heritage sites.
“London is open to investment from around the world and Sadiq wants to see more world-class, ambitious, innovative entertainment venues in our city,” a spokesperson for the mayor told the publication.
“But as part of looking at the planning application for the MSG Sphere, the Mayor has seen independent evidence that shows the current proposals would result in an unacceptable negative impact on local residents.”
Gove’s department is now planning to instruct Khan not to abandon the planning proposals via a letter to the London Legacy Development Corporation (LLDC). It reads: “The Secretary of State hereby prohibits Your Local Planning Authority from implementing the Mayor’s direction of November 20 to refuse permission.”
Should Khan attempt to thwart the venue’s development, the secretary of state has the power to overrule the Mayor on his decision. Gove also indicated his interest in examining the development, which received approval from the LLDC last year.
Designed by architectural firm Populous, the MSG Sphere would have been comparable in height to Big Ben and in diameter to the London Eye. U2 opened the first-ever residency at the Las Vegas Sphere back in September. However, the venue recently reported a $98.4 million loss, and its CFO resigned amid reports of “yelling and screaming” from MSG boss James Dolan.
The post UK government intervenes after London Mayor rejects plans for MSG Sphere in the city appeared first on MusicTech.