music-business

stansseb  asked:

what do you think about these boys touring constantly?? it bugs me to no end bc I know touring can be exhausting and they SHOULD NOT be touring every year.

I think initially they were making hay while the sun shines. Everyone from the top down gave them an expiration date based on being a boy-band.  Even die-hard fans last year figured they peaked with Midnight Memories and that Where We Are was probably the last time they’d make real money on a tour. Then it sold out and before you could sneeze they were promoting OTRA.  And now that has sold really well (if not “out”) which I think surprised everyone.  Aside: Everyone talking about them not selling well for OTRA is wrong. Stadiums are notoriously difficult to sell out since there are so many bad seats, but they are still selling over 80% and making money hand over fist.

But now that they’re seeing a) the light at the end of the contract tunnel; and b) that they CAN keep going if they want to and be viable for a least a few more years (assuming this next album is as good or better than FOUR which is likely), I think they’re realizing that they can chill a little bit. Not a lot, but some.

So the announcement of a new album coupled with the lack of an announcement of 2016 tour dates to promote it (thus far) leads me to believe that they’ll take at least the first 3-4 months of 2016 off and then probably do either an abbreviated tour and then a long break OR an extended tour (over 18 months maybe) with a lot of breaks built in (like most artists do) to promote it and not have another new music album until 2017 (assuming they choose to keep going). The obligatory “Greatest Hits” will likely be released in 2016.

I said a lot and didn’t really answer the question, did I?  What do I think? I think they should not be touring as exhaustively as they have been, but I understand why they have. And I think this is the last year for that kind of pace. The schedule this year is already a lot less punishing and I think going forward it will be FAR more manageable and in line with the way other artists do it.

The DIY Guide To A Superior Music Business Education

by Jesse Cannon

Earlier this year, Zack & I produced two episodes of our podcast, Off The Record, in which we concluded that going to school to get a music business major degree isn’t always a good idea. A few friends have decided to follow our advice. They asked a crucial question: “If I’m not going to school for music business but want to work in the field, what should I read to get an education that puts me ahead of everyone else?” I came up with this list.

  • Get More Fans: The DIY Guide To The New Music Business – Yes, this is my own book. I wrote it to be the most exhaustive guide on the music business ever written (725 pages!). I just updated it for 2015 and obviously I think that it is great. They teach it at over a dozen universities around the world and I will end the self promotion here.
  • Hack Your Hit & Future Hit DNA by Jay Frank – I wrote my book because I didn’t see anyone writing anything for musicians that was relevant to today’s music business. These books are the two exceptions. Hack Your Hit is an excellent book full of inspired, fresh ideas on how to market your music. Futurehit DNA discusses the way music is changing, along with other aspects of the music business, and is a fantastic read.
  • Appetite For Self-Destruction by Steve Knopper – This is the book that tells the story of the dumb moves the music business made to get to where it is today. Not only is it a thrilling ride, it’s incredibly informative. If you ever plan on dealing with major label types, you need to read this to grasp how ridiculous and inept this world is.
  • CreativeLive Courses – CreativeLive is an online web classroom that offers video “how-to” classes. They have done a few music business courses that, for a low price, disperse more real world knowledge than most people will learn in a full year of school. In one, Kevin Lyman (Warped Tour, TEI), dishes practical and real world advice on how the music business works.  In another, Matt Halperin of Periphery discusses how to make smart moves as a musician with loads of great guests.
  • The 22 Immutable Laws Of Marketing by Jack Trout – Most of the music business today is about marketing. You need to be amazing at this skill. This is the book that every ace marketer recognizes as THE guide on how to do it well.

Keep reading

knowledge.wharton.upenn.edu
Songwriters Strike Discordant Note Over Control of Their Music - Knowledge@Wharton
Songwriters are often last in line when profits from their creative work get distributed. They want to rewrite that ending.

This is a fascinating look at PRO’s - Performing Rights Organizations - and the consent decrees of 1941 as they relate to current songwriter royalties under BMI and ASCAP (but not GMR and SEASAC).

Irving Azoff’s new PRO, Global Music Rights, is briefly mentioned, but overall I’m posting because it’s a well written breakdown of how these things work. People that read this blog for music business information would do well to read this in its entirety.

Who is the most popular artist in every state?

Pandora has released a new graphic (above) revealing the most popular artists in every state based on plays through their digital radio service. Unsurprisingly, Billboard champion Drake has laid claim over the majority of the United States. What may surprise some however, is the fact Taylor Swift only claims two states, which is three less than rapper Kevin Gates and two less than Eminem (who hasn’t released a record in over two years). 

These artists are not the only ones getting a lot of play in these states. Here’s a full rundown of the top 10 biggest artists in all 50 states:

Keep reading

musicbusinessworldwide.com
Zayn shuns major publishing deals to keep copyrights, sign with Kobalt - Music Business Worldwide
Publishing admin and neighbouring rights deals include Mind Of Mine

Kobalt has signed both neighbouring rights and music publishing deals with British star Zayn – including his Billboard 200 chart-topping album Mind of Mine.

With a record-breaking debut solo album under his belt, the artist/writer has clearly chosen to shun big money deals in the publishing world.

Instead, Zayn, full name Zayn Malik, created his own UK-based publishing company last year called Drop-Zed Publishing, according to Companies House filings.

It now appears Kobalt will administer Drop-Zed Publishing globally, in addition to handling neighbouring rights for the ex-One Direction artist.

All available works on Mind of Mine – on which Malik was the lead writer – are covered by the pair of Kobalt agreements.

Zayn‘s manager, Sarah Stennett, CEO and founder of First Access Entertainment commented, “Kobalt is a great business partner for Zayn. He made a decision based upon his desire to retain ownership of the copyrights in the songs he has written.

“He feels that Kobalt is best placed to administer those copyrights globally.”

“ZAYN MADE A DECISION BASED UPON HIS DESIRE TO RETAIN OWNERSHIP OF THE COPYRIGHTS IN THE SONGS HE HAS WRITTEN.”

SARAH STENNETT, FIRST ACCESS ENTERTAINMENT

Sas Metcalfe, President of Global Creative at Kobalt, stated, “Zayn is an exceptional talent as an artist and songwriter. His international success is unparalleled and Kobalt is proud to represent and support his career.

“He’s already off to an amazing start and we’re very excited for what the future will bring.”

Zayn made history when Mind Of Mine saw him become the first male UK solo artist to debut at No.1 on both the US Billboard 200 and the Official UK Albums Chart.

He is the first U.K. act, solo or otherwise, to debut at No.1 on both the U.S. and U.K. album charts since 2009.

In the US, the album has sold more than 157K copies sold to date.

Pillowtalk, the first single from the album, hit No.1 on both the Billboard Hot 100 Chart and the UK’s Official Singles Chart.Music Business Worldwide

Vinyl Sales Up 38% From 2014

by Zack Zarrillo

These were the RIAA’s 2014 stats on the music industry:

  • Music Industry’s value: $6.97 billion, down 0.47% from 2013’s $7 billion.
  • Digital revenue: $4.5 billion, up 3.2% from 2013’s $4.37 billion
  • Physical revenue:$2.27 billion, down 7.1% from 2013’s $2.44 billion.
  • Vinyl revenue: $320.8 million, up 50% from 2013’s $213.7 million.

Vinyl sales went up 50% from 2013, and the trend is not stopping. While we’re only half way through 2015, vinyl sales are up 38% already from last year. Vinyl now accounts for 9% of all album sales as well. Some other fun facts on the music industry so far in 2015 via Hypebot are below.

Keep reading

youtube

How To Make A Vinyl Record In 11 Steps

We toured Rainbo Records, one of the oldest and largest vinyl pressing plants in the world, to learn how to make a vinyl record.

End of the UK Tax Year 2015/16 - One Direction Businesses.

Yesterday (April 5th) was the official end and subsequent beginning of the new tax year in the UK.

Below are the dates that the companies must file paperwork for the next year per UK law.

And also  the financial figures for each company.

1D Media Limited

Company no. 07471150

Annual Returns

  • Next annual return made up to 3 February 2017 due by 3 March 2017
  • Last annual returns made up to 3 February 2016

Accounts

  • Next accounts made up to 31 December 2016 due by 30 September 2016
  • Last accounts made up to 31 December 2014 (Group)

Cash In Bank : £42.16m +£24.57m (139.68%)vs previous year

Current Liabilities: £-17.62m -£5.95m (25.25%)vs previous year

Total Assets: £57.14m +£29.03m (103.25%)vs previous year

Turnover: £73.74m +£24.64m (50.19%)vs previous year

Net Worth: £39.52m +£34.98m (770.51%)vs previous year


PPM Music Limited

Company no. 07878173

Annual Returns

  • Next annual return made up to 12 December 2016 due by 9 January 2017
  • Last annual returns made up to 12 December 2015

Accounts

  • Next accounts made up to 31 December 2016 due by 30 September 2016
  • Last accounts made up to 31 December 2014 (Total Exemption Small)

Cash In Bank: £606.2k +£428.09k (240.34%)vs previous year

Current Liabilities: £-155.91k +£26.77k (20.73%)vs previous year

Total Assets:  £884.71k +£488.36k (123.22%)vs previous year

Net Worth: £728.8k +£461.6k (172.75%)vs previous year


Rollcall Touring Limited

Company no. 07982449

Annual Returns

  • Next annual return made up to 7 March 2016 due by 5 April 2016
  • Last annual returns made up to 8 March 2015

Accounts

  • Next accounts made up to 31 March 2016 due by 31 December 2016
  • Last accounts made up to 31 March 2015 (Total Exemption Small)

Cash In Bank : £16.52k -£48.08k (74.42%)vs previous year

Current Liabilities : £-1k

Total Assets: £65.53k +£918 (1.42%)vs previous year

Net Worth:  £64.53k -£84 (0.13%)vs previous year



All One Direction’s companies are audited and managed by Grant Thornton LLP.

How does art figure into a life? How long will it take until we really know what a song or record means, how it works on us, how it works on others, what it does, if it might endure, and why? 

Who hasn’t lived with a record for weeks, only to wake up one morning and find that it has suddenly unlocked a whole new suite of rooms deep in one’s subconscious?
 ~ Amanda Petrusich on the ever faster pace of the music business
(New Yorker)

bit.ly
SONGWRITING SATURDAY: Songwriting 101: Why It's Crucial for Every Serious Songwriter to Learn Demo Production
Make sure your demo doesn't screw you over big time.
By Sonicbids

NOTES: Creating a great demo is important. But not everyone wants the same thing. Some want a fully produced demo while others want to hear the vocal and piano and bass or drums. Give the producers something to think about. 

Click fraud is not the only way to cheat the system. One band made an album of completely silent tracks and told their “fans” to play the blank album on repeat while they slept. If a subscriber did as instructed the band earned $195 in royalties from that single subscriber in just one month. But if each subscriber only pays $10 in subscription fees, then where did the other $185 come from?

It came from people like you.

The media suggests that Spotify was the one being “scammed” by this “clever” and “brilliant” stunt, but in reality Spotify suffered no financial loss at all. The $20,000 that the band received didn’t come out of Spotify’s pockets, it came out of the 70% in royalties earmarked for artists. In essence what happened is every artist on Spotify got paid a little less thanks to an album with no music on it.

— 

Streaming Music is Ripping You Off — Cuepoint — Medium

This is the only real issue I have with Spotify. The technology exists to pay artists based on the share of each paying subscriber’s plays that said artist received, but calculating the royalties based an artist’s percentile share of the massive pool of “total streams” is a joke.

rebelmouse.com
Peter Hollens: 4 Things I Learned About Online Music Distribution as an Independent Artist | New Media Rockstars Powered by RebelMouse
1) How has independent music distribution become easier, and why does this benefit listeners/consumers? Independent music distribution has become much easier as artist-created platforms have risen up to fulfill the traditional services provided by record labels. For example, I do all my direct dis... Powered by RebelMouse
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Hip-Hop Cash Kings 2015: The World’s Highest-Paid Rap Acts

“Don’t worry if I write rhymes, I write checks,” Sean Combs once rapped. That advisory still holds true: Diddy earned $60 million over the past year, more than any other hip-hop act in the world. See the full list >

MARKETING INTERNSHIP: WINTER/SPRING 2016

Fusion Shows seeks music-loving applicants to join our team as an unpaid marketing intern for the Winter/Spring 2016 semester.  Come learn a ton about the concert industry, see some great shows for free, and work in a fun, fast-paced atmosphere!  

Dates: January-May 2016
Hours: 12-15 hours per week
Location: Fusion Shows office in downtown Lansing

Tasks:
• Marketing / Social Networking
• Light Accounting
• Assistance with Concert Production
• Publicity and Press

Requirements for Position:
• Internship must be for college credit.
• Must have reliable transportation, and be able to work in our Lansing offices 2-3 days per week, 12-15 hours per week.
• Must be willing to also make the occasional trip to our non-Lansing markets (Grand Rapids, Kalamazoo, Detroit).
 Proficient with Google Drive/Microsoft Office and general web skills.
• Good grasp of basic math and accounting.
 While not required, proficiency with Adobe Creative Suite, Premiere, or Final Cut Pro would be a huge plus!  

To apply, send a PDF version of your resume and cover letter to Nate at nate@fusionshows.com.