Social media algorithms in 2025 may seem complex, but they all run the same basic repetitive test measuring how people interact with content. This guide breaks down how artists can work with, not against, these systems to boost visibility without burning out.
Pete Lally is president and CEO of Spectacle Live, a concert promotion and management company with 10 venues throughout New England. He jumps into the live music trenches daily solving problems and working to sell more tickets.
5% of royalties collected by SoundExchange are paid to the SAG-AFRA Intellectual Property Rights Distribution Fund. If you are a nonfeatured musician or vocalist, you may have money waiting for you in this SAG AFTRA musician fund.
We’re proud to share that Hypebot has been named a Top Music Industry blog and website by Feedspot alongside Music Week, Mark Mulligan of MIDiA’s blog, Bob Lefsetz and more.
Tracking royalties can be simple with the right systems in place. This guide to Track Music Royalties and Get Paid shows how get organized, automate payouts, and ensure everyone gets paid accurately.
The National Independent Venue Association (NIVA) says that U.S. performing rights are broken and is demanding change. The comments came in a new letter filed with the Copyright Office which is investigating U.S. Performing Rights Organizations (PROs).
With the internet and digital technologies driving rapid change within the music industry, articles about new releases and who has been hired and fired are no longer enough. Our up to the minute industry news alongside insightful commentary helps our readers sift through the rumors and developments to find the information they need to keep their businesses moving forward.
Hypebot is read daily by more than 30,000 music industry professionals including executives and senior staff of music related tech firms, internet based music sites, every major label group and most indies as well as many managers, artists and members of the live music community:
