Fame House's Hisham Dahud was part of last week's IMS Engage in Los Angeles, a selection of âunmoderated conversationsâ between pioneers in the EDM space and prolific outsiders from different industries reaching in. Overseeing social media and acting as the official blogger for IMS Engage, this is his overview of the event.
The International Music Summitâs (IMS) first major conference stateside, IMS Engage took place last Wednesday April 17th at the W Hotel in Hollywood, CA. The event drew in 250 people from all over the world including music artists, industry professionals, techies, press / media and local L.A. residents seeking to enthrall themselves in this unique and first of its kind experience.
âAll doors are open here to this music. Not the case for the last 20 years. IMS Engage wants to make a statement about electronic music and our mission is to elevate the perception of this industry and ensure its positioned in the right way. Hence creating a format like IMS Engage which we feel is a clear and concise way of showing how far the genre has come."
Opening Words â Bill Werde, Billboard Editorial Director
Opening remarks from Bill Werde started the day off with high levels of optimism:
âBack in 1998, it was impossible for dance music to have a hit in North America,â he said. âEurope had Radio 1, but America was so used to the standard verse-chorus structure that there was no hope for an electronic music hit.â
Werde shared with the audience his own history in the rave scene, recalling Baltimore parties like Ultraworld and Fever as âlife-defining moments.â He went on to mention that the industry is finally beginning to see real democratization, the same democratization that many have been speaking of through the emergence and influence of the Internet â especially social media.
âWeâre seeing simultaneously hits in all parts of the world,â he said. âNow, youâll see a global smash hit before radio even starts playing it.â
Werde stated that this transformation in tastemakers has caused major labels to rethink A&R because now anything is possible.
âThat is what dance music is all about. Business models are being rethought, the ways to reach audiences are changing.â
BBC Radio 1 icon Pete Tong sat down with SFX Entertainment head of acquisitions Shelly Finkel for a discussion about how electronic music has caught the attention of deep-pocketed corporations in North America. The conversation began by examining how North America, specifically Los Angeles and Las Vegas, have become global hubs for electronic music.
"Vegas used to be about Frank Sinatra, then boxers, then the Celine Dions,â Tong said. âNow it's about the DJs.â Finkel mentioned that he and his team no longer use the term 'EDM' anymore: âWe use 'EMC' for âelectronic music cultureâ, because it's really all about culture now."
Finkel then went on to describe SFXâs strategy in their acquisitions of large-scale EDM entities.
âThe goal is to acquire different promoters from around the world and expand them into new markets that they wouldnât be able to expand in otherwise.â Specifically, Finkel told IMS Engage that SFX has acquired âa promoter in South America, the largest promoter in Germany, and probably the largest in Australia.â
"There's too much competition in the scene, we need more people working together now."
On purchasing Beatport, Finkel told the audience that the idea is to âbring more young fans to the site and make them aware of many DJs that donât get discovered otherwise â to broaden the fan base to DJs that are not known.â
When an audience member asked Finkel what events could lead to the burst of the EDM âbubbleâ, Finkel pointed out: âBy doing things for the sake of doing and not making smart business decisions. When people get hurt, they eventually get out.â
Finkel was intent in demonstrating that he and SFX share a genuine connection with electronic music and are not just out to seek the highest possible gain. He recounted attending EDC events as his first entry point and feeling a true magical moment of inspiration.
In a deep and animated discussion, legendary technologist Jaron Lanier and Beatport CEO Matthew Adell discussed how technical innovation and disruption have been both a benefit and burden for musicians, as well as the greater music industry.
Adell asked Lanier, âHave musicians been moved out of a livelihood through technology?â
âItâs a matter of dignity for musicians,â Lanier responded. âIf you have to sing for your supper for every meal, youâre always one run of bad luck away from losing it totally.â
He then began to explain the differences between a Gig-based Economy (artists working for day-to-day income) and a Wealth-based Economy (working to sustain prolonged income streams).
"In the 90s, you didn't have to get millions of hits on YouTube. You could make more money, there was more diversity then." On the brighter side, Lanier pointed out that the improvement in accessibility of tools is creating empathy between musicians and fans like never before.
"Computers are not created equal,â Adell mentioned. âTech, privacy, and data access are the industry's biggest evil.â
Lanier added: "Whoever is close to the big computer concentrates all the wealth and power; civilization can't run that way."
Adell went on to relate Burning Man as an ethos in the music world, how voyeurism isn't respected any longer and that participation is now what rules.
"We're in a time of fantastically great optimism,â he said. âEveryone creating stuff is doing so with good intentions."
"The book business is the closest remaining vestige of music's physical media business model," remarked Lanier. "Artists & musicians are the guinea pigs for doing things [in tech], and we'll continue being so in fixing it."
Adell also spilled some numbers about Beatport, signaling that they get over 22,000 new tracks per week.
âIn digital music, all of us (Napster, Apple) are reliant on the metadata that comes the suppliers to categorize music,â he said. "Moombahton was the first time we realized things were moving faster than our metadata could keep up with."
Adellâs one-liner of âthe laptop now being the most important creative tool in the worldâ seemed to generate a positive response from crowd members.
"We are experiencing the end of rock & roll and what it once meant," he said. "People come to dance events as an antidote to the disconnectedness of the digital world."
Diplo and Kevin Systrom started our their chat by marveling on how such a simple app like Instagram could dramatically change how fans connected with their favorite artists.
"When it comes to social media, as a musician you never want to be the odd man out,â Diplo said. âI got into Instagram out of necessity, but it ended up being fun.â
âInstagram initially came about by a mistake,â Systrom said. âIt started out as a Foursquare-like app that people had more fun uploading photos from. Simplicity is one of the core values of Instagram.â
âYou want to be ahead of the curve as a musician,â Diplo responded. âI spent the last three months having a lot of pride in the way my photos looked. Iâm between being really creative on there, and being a promo machine. I sometimes spend 30 minutes just trying to get the right look to my photo.â
Systrom then began to draw parallels between his app and the value it provides its users to DJs and the value they provide for their fans.
"Instagram is less about your photos than it is about your message youâre conveying, the same way a DJ's music isn't about the individual notes," he said.
In discussing online communities of fans and artists, Diplo remarked that electronic music and rap have used social media to its fullest potential.
âA big community will always be more valuable than a big hit,â he said. "A lot of the dance music coming out now is generally disposable. In order to have longevity, create something bigger than just your records."
Systrom agreed, âIn marketing, itâs best to build a fan base of people who reference each other and can talk about it."
An audience member asked Diplo how his now famous #ExpressYourself campaign came about, and Diplo to the surprise of many admitted that it was âthe most un-calculated marketing thing I've ever done," citing pure fun and experimentation as the basis for the whole idea.
In a talk between two of the most highly prolific managers in music today, Thomson and Carter discussed how the business has changed in a relatively short period of time and the pitfalls of growing too big too soon. Specifically, Thomson expressed that Americaâs newfound love with dance music could potentially âkill it.â
âDo you think the way America has grabbed electronic music will kill it? Because I do," she told Carter. âMoney's fine, you just can't sacrifice the culture for it."
Thomson stated that her own partnership with Ron Burkle (head of equity firm Yucaipa) had allowed her to see how companies should be valued, and feared that many showed inflated valuations and could possibly be headed towards failure.
âDance music would carry that stigma for 20 years, after weâve just been legitimized,â she said.
Carter appeared to be more optimistic, pointing out how everyone who could have killed hip-hop and dance music didnât have the power to.
âHuge commerce with a new form of art is really fragile,â he said. âI donât know how you unring that bell.â
Thomason then shared her experience in seeing how the bigger the overground becomes, the bigger the underground becomes.
Carter compared the current crop of dance music managers, Thomson included, to the first wave of hip-hop managers.
âWhen I started in hip-hop years ago, it was Homeboy 101 management; hire your friend to manage you, and whatever happens happens,â he said. âThen more sophisticated people came along and kind of fucked it up a bit. The guys who started out as Homeboy 101 were Russell Simmons and James Lassiter, who have gone on to build serious legitimate businesses.â
"Managing an artist is like any relationship,â he responded to an audience member. âIt's about the small wins that build trust."
When it comes to international touring, Carter mentioned that Gaga does not âtouch & goâ and instead spends time in areas worldwide where theyâre building a fanbase.
âAt the end of the day,â he continued, âItâs all about the fan experience. Gaga is always reinventing her shows.â
What many people may not know is that Russell Simmons was instrumental in kickstarting Patrick Moxeyâs career in the music business. As a former intern of Simmons, Moxeyâs conversation with the hip-hop icon (and his longtime mentor) was as inspiring as it was informative.
Simmons was profound in his ways of describing living a creative life: âThe sound between the snare drums is forever.â
Simmons spoke about the value of embracing the unfamiliar, as he was unfamiliar with many of the dance music icons Moxey brought up like Calvin Harris and Deadmau5.
âYou want to be open, to be able to transcend,â he said. âAll youth culture keeps reinventing itself. You donât have to fake it. If youâre honestly there, youâll feel it; itâll seep in.â
Simmons also demonstrated that early hip-hop promotion has parallels to dance music experiences, but todayâs scene has more resources than ever before. He also mentioned that electronic music, as a culture, continues to be suppressed by the gatekeepers.
"You can't clean up a culture because it's a reflection of the world,â he said. âYou can only clean up yourself."
Moxey then brought up an interesting point about artists achieving success, and how it impacts the culture of electronic music; as success can be seen by many as coming by âselling out.â Simmons traced it back to hip-hop.
âThereâs no fear or shame of success in hip-hop,â he said. âThatâs part of it, it didnât tarnish it because it was honest. Thatâs very much unlike rock and now dance music.â
Closing his thoughts, Simmons told the audience: âYour work is your prayer and the results of that work are to give away. You've got to love what you're doing."
In the final engagement of the day, Skrillex had a highly passionate chat with Summit Series co-founder Jeff Rosenthal. The two began by discussing how quickly things have changed in how artists â from all kinds of art â connect with their audiences.
âWe're experiencing a renaissance of how art is created and how it is distributed," Skrillex said. He and Rosenthal then exchanged points on how all types of creative people from painters, photographers, and graphic designers (and of course musicians) now share through the same digestible platforms, causing community amongst their followers.
âCommunity in music means learning from one another and everyone can win," chimed in Rosenthal.
Skrillex agreed: "It's easy to be quiet. Ultimately what my music says is, 'Hey, you can be loud.' People really gather around that idea.â
Not having Atlantic to distribute his side project as "Skrillex", the dubstep producer was forced to do things on his own.
âThree years ago, I was $30,000 in debt. We released everything completely on our own and it was through blogs and social media that we saw success. We have a real strong connection to our culture and our fans.â
Skrillex had also revealed that he purchased and is renovating an 11,000-square-foot building in downtown L.A.âs Chinatown district, specifically for people who he called âin the boxâ producers â those who work solely with their laptops.
âIt will have great facilities with everything you need as a producer, so youâre not resting your laptop on a big SSL desk and thinking, âIâm not using all of these channels,ââ
This new facility will be a home base for Skrillexâs OWSLA label staff.
âWhen everyone is in the same room stuff goes 50 times faster,â he said. âI want to make a place for people to be independent and do what they do.â
The two then continued on the importance of community and helping one another out, and appropriately, Skrillex happily accepted a flash drive from a young audience member containing original music for him to check out.