Austin Daboh, Head of Music Culture & Editorial at Spotify UK, has reportedly resigned. He joined Spotify in 2016 as Senior Editor, Shows & Editorial, from the music team at BBC Radio 1Xtra, and was promoted by the streamer last year.
With the passage of new copyright legislation in Europe, many are assuming that Big Tech will finally be held accountable to the new laws, but Chris Castle takes a somewhat different view, predicting a two-year copyright war is just heating up.
Apple is set to announce the end of iTunes today. Ironically, the company unveiled a new iPod Touch last week, the newest iteration of the hardware that made it so easy to put a whopping 1000 iTunes tracks in your pocket.
As profitability returns to the recorded music industry, Glenn Peoples found some unexpected wisdom from one of the world's greatest punk outfits, The Ramones. He draws lessons from the punk pioneers on how to navigate and understand music's new and complex landscape
As the global music economy continues to transform, it's important to take a look at the various factors which feed into a song's success, particularly when it comes to that song's geographic origin. In this in-depth piece, we explore the concept of 'trigger cities,' and how streaming popularity often begins in the places you might least expect.
Spotify is testng a new feature that enables users to collaborate with friends and listen to music together. Tentatively called Called Social Listening, the feature allows a users to control a friends music so everyone could listen together.
Brant David McLaughlin of Music Industry Insights breaks down eight music industry statistics, revealing some unexpected areas of growth, as well as. some indicators as to where the industry as a whole might be headed moving forward.
In an effort to increase its profitability, Chinese streaming giant Tencent has begun experimenting with limiting the amount of current hit music which its customers can access for free. Given the mixed results windowing saw in the US however, it remains to be seen whether this trend will catch on.
While streaming has remade the economic landscape of music and made earning a living harder for many musicians, some of the industry's biggest stars are still managing to bring in a significant amount of revenue in this new environment.
As playlists popularity continues to grow, being able to successfully pitch music to playlists becomes more important, as well. Here, a sought-after rock playlist curator explains the number one mistake artists make when pitching their music.
While Spotify deserves kudos for its free Artist toolkit, no music service has provided more opportunities for artists to connect with fans than Pandora. Pandora AMP (Artist Marketing Platform) is an offering that its competitors can learn from.
Music subscriptions are going a great job of monetising music consumption, says MIDiA analyst Mark Mulligan, but the next phase is monetise music fandom. "In short," he says, "streaming needs to figure out how to bring heart and soul back to music.
The co-founders of URSA Music, Christopher Jones and Chad Royce, join Michael Brandvold and Jay Gilbert on the Music Business Weekly podcast. URSA is the only streaming service that features extensive Artist-controlled profiles, including Music, Photos, Videos, Tour Dates, Bios,and more, all in one place.
As music streaming's heavy hitters start to get into the distribution business, some artists are getting kicked to the curb, and left wondering why their music didn't make the cut. Here we look at some of the main reasons your music might be getting rejected by major streaming platforms, and what you can do to fix it.
As if making it in the music industry wasn't hard enough, musicians now face competition from fake artists. Often they are production companies paid a flat fee by streaming services to create music so it does not have to pay royalties.
Apple, Amazon, Google, Microsoft and Pandora are being sued for selling and streaming unauthorized recordings of Harold Arlen, the composer of Over the Rainbow and other classic songs. The lawsuit accuses the companies of running “massive music piracy operation” involving more than 6,000 pirated recordings.
ByteDance, valued at $75 billion thanks in large part to the huge popularity of its TikTok app, is in talks with major labels and publishers to launch a music streaming service, according to multiple sources. The Chinese conglomerate could launch its Spotify competitor as soon as the end of this quarter.
While streaming is often maligned for the reduced amount of revenue it generates for artists, those musicians at the top of the pile are pulling down far more than you might have guessed. Here we look at streaming's five biggest money makers of 2019 thus far.
In an increasingly fragmented music landscape where algorithms and streaming emphasize songs over albums and artists, success - even on a global scale - is found in the niches, says top music industry analyst Mark Mulligan of MIDiA. "Fandom is fragmenting," says Mulligan, "but it may be the best thing that has ever happened to it."
LiveXLive Media, the music tech company focused on live events, has launched a redesigned app that brings live streams from more than 35 global music festivals together with its Slacker recorded music streaming platform.
Social music app LÜM has closed its seed round, bringing the Madison, Wisconsin based startup's total investment to $1.2 million in less than a year. LÜM has also partnered with concert promoters Frank Productions to explore ways to bridge the difficult divide between live and digital music consumption.
The Spotify mobile music app has been renamed Spotify - Music and Podcasts, as the company brings its $500 million bet on podcasting to the forefront of its entire ecosystem. The new design is be available to some users, but the streamer has offered no date for a full roll out.
Thanks to the rise of streaming, the metrics with which we measure the success of music are changing, which inevitably means the structure of music will change to compensate. In this piece we look at what kind impact streaming has had on the production of music, and what artists can do in response.