Music fandom’s problem is TV’s opportunity Music fandom is approaching a crisis point. The good news is that because of streaming, more people are listening to more music than ever and more artists are releasing music than at any time in the past. But, while doing so, streaming has turned music into a ubiquitous commodity – a passive soundtrack to our daily routines. The biggest price paid for convenience has been the steady erosion of fandom. With music transformed into a raging torrent of new songs that live for a few minutes in a user’s playlist before giving way to the ‘up next’, music has become a song economy. In this song economy, the artist is a second-class citizen, forever feeding the streaming algorithm with new music in an effort not to be swept away.

Music fandom is fragmenting. Super fans are still present, but there are fewer of them. Most have become passive music consumers, acclimatised through a decade of streaming to background listening and desensitized to the deprioritising of fandom. Even half of music aficionados (those who spend the most time and money on music) are now listening to music in the background while doing other things. It is an inevitable trajectory for a model that offers so few ways for listeners to lean in and connect with an artist’s story. To some extent, this gaping hole in music fandom has been filled by TikTok, allowing the rise of new internet-centric scenes and a place for music fandom to thrive again.

However, with TikTok being used by less than a third of the UK population (and two thirds of those being under 35 years old), most consumers still face a fandom blackhole. It was not always this way. There used to be many more places where even the most casual of music fans could learn about new artists and connect with their story. Traditional platforms such as radio and TV used to play a crucial role in this, but radio listening continues to fall and music showcases have become few and far between. Yet, TV (and video streaming) may represent the missing piece in the fandom puzzle.

The promise of streaming was to democratise listening and do away with the human gatekeepers in favour of the algorithm. As streaming nears its peak, the veneer is beginning to wear off. This is so much so that 54% of consumers want music chosen by humans, not algorithms, while 38% of music streamers say they struggle to find music they like on streaming services. If they are struggling to find new music they like,  they are also struggling to find and connect with new artists. When the half-life of a song is the swipe of a finger, the distance between an artist and their potential fans is greater than it ever was. Artists and their labels are finding it harder than ever to even start an artist’s career, let alone sustain it. Instead, artists are stuck in a perpetual struggle to keep their head (just) above water long enough to breath, playing an energy sapping game in the hope that a few streams happen. Consumption is abundant, fandom is not.

The endless hustle of the song economy has forced labels into pursuing short-term marketing tactics aimed at creating hits, pulling them away from their true heartland: long-term artist brand building. Artist branding requires expertise in the first principles of marketing – creativity and integrated marketing communications – joined-up campaigns that build an artist’s ‘brand equity’ and set them up for longevity. Instead, everybody finds themselves stuck in the hamster wheel of chasing the latest trend. It is no surprise so many artists have expressed relief that they arrived on the music scene before the dominance of social media.

The heart of problem Is that streaming is about consumption, not artist-fan engagement. While Spotify’s recent vertical feed launch is a step in the right direction, it is just one (as of yet unproven) move by one music streaming service. Artist storytelling must happen elsewhere. TikTok may be the industry’s go-to, but its role is far from perfect. 64% of TikTok users rarely know what the music is in a video they are watching and just 19% go elsewhere to listen to music they discover on the app.

The problem is not even TikTok. It is the fact that TikTok’s young audience skew means that it is not even part of the equation for most consumers. While the 16% of TikTok users that discover music from viral trends (equating just to 6% of all consumers) is small, 37% of consumers say they discover new music through TV shows (which includes streaming TV shows). It is not all about scale, it is about reaching different parts of the population: twice as many over 35s discover music through TV shows than discover music on TikTok.

Sync has become a massively important part of the modern music business and the power connection that music can deliver in a TV show is loud and clear. Imagine how much more impactful TV could be if there were more showcases where audiences could meaningfully engage in artists’ stories, not just at the breakneck 15 seconds of fame pace of social media.

TV / video is one of the few places genuine cultural moments can still occur. Why does everyone talk about The Last of Us? Because TV and video streaming are some of the few media assets left that can create watercooler moments – times when people can come together and be part of something bigger. TV and video formats enable people to see beyond the song, to share in the story of the artist, and build a depth of fandom so rare in the streaming era. They can help develop artists into more than playlist-fodder. Artists that have a voice, a story to tell, and a fanbase, that are greater than three minutes of a streaming consumer’s day or 15 seconds of a social media user’s day.

If TV sync can have such an impact on music discovery, think about the impact of TV showcases. There is power in seeing artists perform their songs while conveying their musical skills, talent as performers, and having their personality and passion shown on their sleeve. With showcases becoming fewer and further between, audiences are craving what they have been missing. It is no coincidence that Eurovision is enjoying a renaissance. Consider the 2021 winners Maneskin. The rock bands’ success follows a long list of TV showcases and award shows supercharging artist careers, from The Beatles on the Ed Sullivan Show, through Adele at the 2015 Brits, to X Factor launching the career of One Direction (without whom of course we would not have Grammy award winning Harry Styles).

Indeed, X Factor is a key illustration of how TV showcase formats can build fame and fandom while encouraging audiences to become invested in artists’ success by making them part of the story. It is a model that social platforms since tried to adopt for audiences to feel that they understand the artist and their journey, rather than swiping past a vacuous post about what someone happens to be doing that particular day. Showcase formats show artists at both their most creative and most vulnerable. It is that vulnerability that allows audiences in, building the foundations for a relationship where fans feel like they are part of the story. Something that is near impossible to build at scale anywhere else.

Streaming is an amazing consumer proposition, and it will continue to evolve and get better at doing what it does, but its reason for existence is consumption. TikTok and Instagram do a good job of driving virality, but they exist for engagement. Streaming builds audiences and social builds followings. Sustainability has never been a bigger issue for artists and their labels. There is no single-shot cure for the mass of inter-connected challenges, but creating more places where artists can tell their stories at their pace is a central part of what must come next. Until social and streaming get better at it, TV and video streaming are the fandom opportunity waiting to be tapped.

Email Marketing 101: 15 common mistakes most musicians are makingEmail marketing is still proving to be a crucial part of promoting music, so it’s important that you get it right. If it hasn’t worked out for you, here are. Continue reading
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‘Yes, AI is the future of music – but not in the way you’d think.’The following op-ed comes from Oleg Stavitsky, CEO of AI-powered sound app Endel
Source

‘Not an agent of China,’ TikTok CEO to tell Congress [Read full testimony]The House Committee on Energy and Commerce has published the written testimony to be given Thursday by TikTolk CEO Shout Zi Chew. “Let me state this unequivocally: ByteDance is not an. Continue reading
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Apply to AES Educational Foundation 2023 Scholarships and GrantsThe Audio Engineering Society, celebrating “75 Years of Audio Innovation” in 2023, has announced details on this year’s AES Educational Foundation scholarships and grants. Applications for the annual AESEF Graduate Studies Grants and Mary Lea Simpson Memorial Scholarship for undergraduate studies are open to AES Student Members through May 15, 2023.

Since its establishment in 1984, the Foundation has awarded grants for graduate studies to hundreds of exceptional applicants, many of whom have gone on to prominent and successful careers in the audio engineering industry.

Graduate Studies Scholarships:Grants, including the named Scholarships, are awarded annually for exemplary students dedicated to the art and science of audio engineering. The AESEF Scholarship Committee selects the recipients of the memorial scholarships based on which student best meets the criteria for each named scholarship. Genelec Mike Chafee Audio Pioneering ScholarshipThis scholarship encourages passionate and outstanding women to continue their audio education while paying tribute to noted long-time Genelec manufacturer’s representative, audiophile, sound designer, acoustician, audio evangelist and supporter of women in audio, Michael Chafee. Chafee had been involved with Genelec since 1996 and is credited with being an early pioneer and key influencer in promoting the concept of Active Monitoring technology to the market.Dolby Institute ScholarshipThe Dolby Institute has partnered with AES to award the Dolby Institute Scholarship, open to international graduate students with an interest in content creation and the study of the science of sight and sound.

The John Eargle AwardThis award honors AES Past-President and Fellow, John Eargle, who authored several seminal textbooks on audio, as well as engineering more than 250 albums, and was posthumously awarded a Technical GRAMMY® Award in 2008. The scholarship is given annually to a student who excels in both technology and music.

L-Acoustics Dr. Christian Heil Future of Sound Scholarship This scholarship awards recipients who demonstrate curiosity and dedication to shaping the future of sound, including approaches that may question conventions or call upon bodies of scientific knowledge outside of the realm of audio. Students having pursued an undergraduate course of study in an area other than audio are encouraged to apply in the interest of enriching cross-disciplinary thinking and exchanges to further the state of the art.

Advancing Audio – The Tom Kite ScholarshipThis scholarship honors Kite’s legacy of dedication to engineering excellence in audio and audio measurement, as well as his achievements within the AES and as Vice President of Engineering of Audio Precision, the scholarship’s sponsor. It is offered to students who demonstrate creativity and imagination.

Genelec Dr. Ilpo Martikainen Audio Visionary ScholarshipCoinciding with its 40th anniversary in 2018, Genelec announced the creation of a scholarship honoring its innovative and entrepreneurial founder. The Genelec Dr. Ilpo Martikainen Audio Visionary Scholarship is offered annually to U.S. graduate students in the field of audio engineering who are members of the Audio Engineering Society and have a passion for advancing audio through innovation and technology development.

Garry Margolis ScholarshipAESEF’s latest scholarship has been established in honor of Garry Margolis, who passed in December 2022. Garry was a Life Fellow of the Audio Engineering Society, served as AES President and Treasurer, and was a member of the AES Board of Governors for many years. He was awarded the AES Distinguished Service Medal Award in 2019. Professionally, Garry worked for several leading audio companies in marketing, sales and as a technologist and consultant in the areas of audio, video and digital cinema. 

The Emil Torick Award This scholarship, awarded annually to an outstanding student with exceptional career goals, honors the former long-term AES Foundation President and founding member, Emil Torick. Torick held 16 patents and authored more than 60 technical publications. He served on the National Radio Systems Committee and was a member of the U.S. delegation to the International Radio Consultative Committee in Geneva.

Undergraduate Studies Scholarship:The Mary Lea Simpson Memorial ScholarshipThis scholarship covering full tuition for final year of studies is being offered to an undergraduate student entering senior year at a North American college or university Audio Engineering/Recording Arts Program. The scholarship honors Mary Lea Simpson, who was a graduate of the Audio Production Program at New England Institute of Art.

Historically, grants have been made possible by contributions from AES, Audio Precision, Dolby, Genelec, Harman International, JBL, L-Acoustics, the estate of John K. Hilliard, and the Mix Foundation for Excellence in Audio; the families of John Eargle, Mary Lea Simpson, David Smith, Emil Torick; and the family and friends of Larry Estrin, Don and Fran Pearson, and Bruce Swedien. The AES Educational Foundation also receives support from other benefactors such as in-memoriam donors and individuals and companies that support education in audio. 

Application forms and additional information online in the AES Educational Foundation web pages.

26% of Musicians skip meals due to cost of living, new survey findsOne in four professional musicians is skipping some meals because of the overall cost of living, according to a new survey. This recent survey of 301 professional UK musicians by. Continue reading
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4 things to DO NOW before TikTok is banned: The Breadcrumb StrategyAs a bill advances in Congress fueled by new anti-U.S. statements from China that could ban TikTok, it’s time for every musician, label, and music marketer to contemplate life without. Continue reading
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Which new Spotify features are worth using? [Michael Brandvold & Jay Gilbert]Last week Spotify announced significant new features for artists, including Clips, countdowns, pre-serves, Marquee, Discovery Mode, Showcase, DJ, and more. Experienced music marketers Michael Brandvold and Jay Gilbert take a. Continue reading
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Oversaturation, rising costs & delocalization: a preview of SXSW panel ‘Who Gives A Sh!t About Indie Music?’Ahead of this Thursday’s not to be missed SXSW panel, “Who Gives A Sh!t About Indie Music?” we asked the panelists to share some of the challenges and opportunities facing. Continue reading
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SXSW is here: 22 places I plan to be from 5 minutes to 5 hours! [Kosha Dillz]It’s that time of the year. You know the time because you can feel the stress. It is the time when everyone gets their Austin vintage clothing from the year before to post. Continue reading
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Getting It Done: The week in D.I.Y & Indie MusicLast week, our tips and advice for the independent, do-it-yourselfers out there covered how to use AI for your music career, social media don’ts, and more… How to take care. Continue reading
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CCC Will Present Webinar "Building An Artist's Team"On Feb. 21st, 2:30 - 3:30 PST, the California Copyright Conference will present a panel that features opinions from managers, artists, lawyers, booking agents, and more. Get your notepad ready for an exciting rundown of what locking down a new musical artist’s foundational teammates look like from multiple perspectives. If you’ve been scratching your brain on how to break through the TikTok algorithm, asking yourself if you’re ready for a manager, if you are wanting to become a manager and wondering how to find great talent to work with, perplexed on how new artists are booked on large tours/festival runs, and wanting some opinions on where the music industry is headed from some ‘new on the scene’ heavy industry hitters, this one is for you! Moderator: Taylor Le | Artist/Songwriter Panelists: Stevie Comanche | Manager at RAW Material Adam LaRue | Manager/CEO, LaRue Music/Artist Consultant MILES | Artist/SongwriterErin Workman | EVP Department Head & Faculty, Songwriting & Music Business, Los Angeles College of Music/A&R Consultant/Songwriter Advance Registration: CCC Members $0 per person | Non-members $5 per person– No refunds –Stick around for the "after hour, happy hour" chat following the webinar! Catch up and network with the CCC community from thecomfort of your own couch!This webinar is sponsored by Attention Attorneys: This virtual activity has been approved for Minimum Continuing Legal Education Credit by the State Bar of California in the amount of one (1) hour. Following this virtual webinar, we will verify your attendance via Zoom reporting and email your certificate of attendance to the email provided at registration.

Please register for this webinar by1:30pm PST on Tuesday, February 21st, 2023

CCC MEMBER & NON-MEMBER REGISTRATION

CD vs. Streaming: The answer to which did better in 2022 is not as simple as you thinkWe live in a streaming world — yet revenues from physical media (i.e., CDs and vinyl LPs) continue to grow every year. by Tony van Veen of Disc Makers Blog. Continue reading
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I asked ChatGPT how to market music & its advice was surprisingly goodI asked ChatGPT the best ways for indie musicians to promote their music, and the answers that it sent back is surprisingly good advice. Beyond adding in short videos, this. Continue reading
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Where have all the fans gone? A visual breakdown of Music ConsumptionNever has music consumption been so divided across literally dozens of services. So to have any chance of success, musicians and the companies helping them need to understand how and. Continue reading
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