Soundcloud is possibly my favourite music website. I use it at least every week for a variety of music purposes. I love the clean feel of the site and the intuitive simple functions. It is such a user-friendly and well evolved website, that it is hard to believe they are just celebrating their 1st birthday. As any kind of musician, label owner, radio / podcast show host and more, Soundcloud is a great way to send and receive music, and it provides an efficient way to distribute, privately or publicly. It is becoming a hugely popular tool, and yet their friendly nature is still seen across the site. In their words, “We’re a few people who moved from Stockholm to Berlin, found some more cool people there and set up a small company to create the best dedicated music site in the world.”

Quick Facts
* SoundCloud is an online audio platform for music professionals that makes sending and receiving music simple and efficient.
* Accounts are currently only available by personal invite.
* SoundCloud is in use by many of the worlds leading electronic music producers and labels.
* Some people think of SoundCloud as an email application but for music, and with a play button.
* Founded in 2007 by Swedes Alexander Ljung and Eric Wahlforss and based in Berlin–Mitte, Germany.

How Does it Work?
The easy way I can explain, is to show you via one of their friendly videos: The Soundcloud Tour.

Sharing
Using their embeddable music player is a great way to promote your music. The code is easily found once your song and details are uploaded, and simple to paste around the web. For example, here is a recent deep house remix that I produced for UK label, Lost My Dog.

Danny Stott – Bunker (Lee Jarvis’ Secret Kelvedon Hideout Remix) (320promo) by Lee Jarvis

Personally, I find this a much easier way than directing music fans to a (now overloaded) Myspace page, plus you are able to display the payer in blogs with ease. Using the Soundcloud Facebook App is also incredibly easy, gaining further recognition for your music on a popular social networking site. Allowing DJs, tastemakers, label owners, friends and co-artists to download your music from the site does away with the need for uploading and sending links that soon expire or FTP log-ins. As the Soundcloud guys put it, ” Music is just kind of tricky to deal with over email. So, we thought we’d change that. SoundCloud is our way of doing it.”

iPhone app
What next for the Soundcloud team? Obviously, mobile markets are going to be a huge development to most of the music industry, and so that’s where they went, announcing their iPhone App last week.

Having received endless feedback from their users, Soundcloud acted upon on of the most popular requests and have built an app allowing you to listen to your own uploaded tracks, as well those sent by people you follow, and tracks sent to your dropbox. It also lets you mark any of these as favourites, and send your tracks via email to anyone in your mobile address book.

Currently priced at €0.79 or $0.99 the app is available from the app store. Although only the first version, I’m sure they will continue to develop this the way they have the full website, and look forward to more announcements over the next year.

Lee Jarvis.

I am a huge fan of Gary Vaynerchuk, and his words have always resonated with what I try to with music and social media. Well, he recently posted a video blog with the title “Hey Mr DJ”, describing the way that DJs aggregate all the music that is out there and deliver it to you for one particular time of day or mood or party. He then uses the term “DJ” in a broad sense to describe the way that people are always looking for interesting content (not just music, but videos, wine facts, triathlon information, etc), but with the incredible amount that is floating around in 2009, people also need a recommendation system to separate the wheat from the chaff.

Many online streaming sites have various genomes / genius bar devices, but I believe that music fans connect better with real people, hence the rise of the DJ over the last 40 years. I have been a DJ myself for sometime, and believe that I have a knack for choosing records from the millions that are out there from around the world, and playing them to the right people at the right time. As an extension of that, I recommend albums and artists to friends and strangers via my online social networking profiles (such as Twitter or Facebook). Vaynerchuk takes this one step further, and suggests that there is great scope for those who can disseminate any kind of niche information from the web, and provide a place that people with a common interest can easily discover and connect.

This kind of tastemaking is, in essence, what we are doing here at music jobs. We offer not only direct job opportunities, but also select pieces of music industry news, single reviews, festival reports, UK music events, advice on your music career, being an independent artist, band promotion, the future of music, copyright issues, music marketing tips and much more!

The purpose of this post is not only to point out how we are here to help you with your search for that perfect music job, but to also point out that maybe you can do something of similar nature. Maybe you know everything there is to know about 18th Century string music, and so maybe you could make yourself the go-to source, not only creating your own content, but feeding out to other sources and narrating on similar articles across the web. Think about it – find your niche, and run with it! You can even start off by posting some interesting topics in our forums and see how many views they gather!

Here is Gary, with his video…

Gary’s original blog post is here, and if you are into social media and general web inspired banter, then I suggest you watch as many of them as possible!

Aside from our music industry forum and music industry blog, we share a lot more in our Twitter Feed or Facebook Fan Page, so feel free to follow and connect with us on there, for all your music career resources.

Lee Jarvis.

Like all my greatest music festival reports, it’s late

The trouble is, where do you begin with Glastonbury….? The huge international guests? The breaking bands playing in every nook ad cranny? The sheer size and scale of one of the UK’s largest music events?

From the off, the atmosphere was electric. We arrived a day before the acts officially began to settle in, and every hour or so a wave of cheering soared across the campsite. I never realised that people enjoyed pitching tents so much. That certainly set the pace, and the exploration begun. The first official band was Massimo Park, and they kicked off the proceedings with a combination of their hits to get everyone in the mood. Moving on, the Greenpeace Airport made me feel slightly guilty about my June/July schedule (ORD – LHR – ORD – SNA – SFO – ORD), but I soon (kinda) forgot when I realised there was entertainment (and cider) available there. The Little Tremors had a great intimate crowd with them, and their lively music aided a summery afternoon perfectly. Heading over to The Park we found an explosive Zane Lowe vs Mike Skinner set that even an impossible to enter tent and the first drizzle of rain failed to dampen. Kings of Leon’s ‘Sex is on Fire’ and Switch’s ‘A Bit Patchy’ being two major highlights. We then went to catch a friend-of-a-friend recommendation, The Gentleman’s Dub Club, who served up tight grooves, big bass and a party atmosphere with great crowd control, completing a fantastic opening day of music.

Friday kicked off with breakfast at The Whip, although I felt they failed to recreate the energy of their dance-rock-hybrid hits as a live act. Heading over to meet Deepgroove and Paul Woolford, the audience was a bit sparse in the various dance tents (it was still only 1pm), and so an early lunch and a walk over to the Pyramid Stage ensured we had a great spot for N*E*R*D. This is where the unbiased report wavers, as I’ve been a huge N*E*R*D fan since their first album, and consider their songs inspiring for some of my own projects. In other words, they were one of my highlights. The whole band was tight, people were up on stage busting out their best MTV moves (apart from one guy who thought the music was perfect to can-can along to, hugging with Pharrell). A short (wet and muddy) walk to peek in at Skream and Benga totally destroying a now packed Dance Tent was swiftly followed by a memorable performance by Crazy P in the Guardian Lounge.

The class acts are so diverse and in such quick succession, it left a great impression on me as Glastonbury being a very complete festival. I somehow managed to get a great spot as Jason Mraz in the Acoustic Tent, in amongst the screaming 13 year-old girls, and along with very talented supporting musicians, he moved the crowd along very well. A short stroll via the Glade Tent to check out the live electronic dance grooves of the Bays (this time without Jimpster, but with the added vocal magic of Beardyman), and I was ready for my Friday night highlight. Q-Tip. Being 20ft from the front was a great help, and the latest album never leaving my playlist meant that I had a fantastic end to a hectic day. Inspiration overload was complete.

VV Brown and Watermelons. Not her new band, but an unexpectedly satisfying start to my Saturday morning, my hunger filled (for both new music and breakfast respectively). It’s not that I was expecting little of VV, simply that I had only discovered a track of hers accidentally about two weeks prior, and I didn’t know what to expect from a new, young act, and was pleasantly surprised. Failing to get anywhere near the Rolf Harris tent(!), we went back to see Dizzee Rascal at the Pyramid Stage. Having been around for a while now (we were discussing if he was past his best. Your thoughts?), there were many a shout-along lines we could join in with. Another venture to The Park on a friend’s recommendation brought me to the sounds of the Beatbox Orchestra, doing battle with DJ Yoda, supplying backing for Jarvis Cocker, and a whole number of crazy things I never thought I’d hear!

I decided to get some rest, before a sunset show with Bon Iver, surrounded by campfires and enjoying every second of their acoustic folk-rock soundtrack. Refreshed, fed and watered, I headed over to explore Shangri-La, the after-hours crazy dace village of Glastonbury. Small streets and stalls fought for my attention, and provided all kinds of weird and wonderful Glasto moments, whilst meeting new friends and failing to find old ones (James! Buckers!) in the Mad Max mirage.

Sunday I wanted to explore more of the site, and may have missed the wonders of Status Quo in doing so, but I wanted to see more of the Glastonbury spirit, so I wolfed down a veggie breakfast from a Juke Joint with people passed out in the stall next to me, and headed over to the Green Fields. Free fruit, A Wishing Tree, pedal-powered music machines, and a general explosion of creativity was on offer to keep us entertained. The sun even came out to grace my shoulders with a (still visible) tan-line. A short walk through the Circus area, full of (psuedo)naked art classes and 1920s boxing matches, and we were ready for our next music fix, that being The Destroyers. I don’t know if you’ve ever seen a 15-strong group of musicians charging around to gypsy-folk-fused-with-samba, but I strongly suggest you do. Mr Scruff over in the dance tent helped things get moving along nicely into the evening.

Our final night was yet another memorable one. The anticipation of the big finale was so huge, that we got to the main Pyramid Stage for Blur very early, leaving me with enough time to try and finish all my whisky so as to not have to carry it home (I succeeded). I had missed out on seeing Blur in my high school years, and having only recently re-united, this was a great opportunity that I didn’t want to miss. Much singing along to Girls and Boys ensued, followed by much jumping along to Parklife, and an emotional Damon Albarn taking charge of the crowd, tens of thousands strong, and leading them into a non-stop A capella of Tender, prompting two deserved and appreciated encores.

To sum up, my first Glastonbury was a real eye-opener, and I’ll make sure that it won’t be my last.

Lee Jarvis.

Saturday afternoon was an action-packed discussion focussing on small independent promoters, and touched on their relationships with bands and artists, as well as how they conduct their work in the ever-changing music business. 

It was clear from the start that it is an entirely different market for small and large festivals; the smaller events offer their shindigs as a platform to meet people and network as well as an exposure to new art and music on many levels. Moderator Howard Monk, of live music promotion The Local, asks if the panel feel that they can deliver a lot of value for small amount of money, especially in relation to bigger festivals. The panel certainly agrees, and enjoy the fact that they can be a little more leftfield or off-the-wall by booking a bunch of artists yet to earn a nationwide audience but who may go on to play bigger stages.

Anna Moulson shares that The Great Escape like to try and support local Brighton acts, and that as Brighton has strong, healthy music scene then the Brighton people appreciate and support that fact. The idea of a local scene that fans embrace is an appealing one, but one that has certainly declined in recent decades, with the UK being a small island and people being able to travel greater distances to concerts with relative ease. I’d be keen to see if this may be a resurgence in certain cities and towns, as it certainly seems strong in Chicago, especially coming from my native but saturated London scene.

The struggle for small promoters is to offer quality artists reasonable fees and minimal demands. Having discussed several ways that less scrupulous promoters will avoid and even exploit such difficulties, my experience of both holding events and looking for gigs in London kicked in, and it occurred to me that promoters wanting credibility and longevity have to stick to their beliefs. This is true even during the tough times when “mr promoter down the road” is pulling in more people and possibly making more money (/breaking even). ‘Paying to play’ and ‘Battle of the Bands’ style events are sometimes a necessary evil for artists, but long-term relationships will not develop, and ultimately no-one becomes a fan of those event brands.

It is a tough call for artists to make when offered gigs with unfair pay and conditions, but one that should be given different conditions each time, re-evaluating their ‘position’ in the market and how much ‘clout’ they have, along with considering any positives or opportunities could come as a result. Secret Garden Party’s Freddie Fellowes offered that boutique festivals can sell tickets based on the strength of their brand value, therefore becoming an attractive prospect for indie and new bands yet to develop a huge following. Not piling on the pressure is a great way to build a relationship with the artists.

Discussing which types of promoting events work, both panel and audience chipped in with stories of posters creating an appealing front, relevance of text messages and success in various online and printed listings. However, the split in the audience response regarding which marketing types attract our attention, say to me that you still have to cover all possible areas in any marketing plan. Supporting any online work with a good offline strategy, be that word of mouth or handing out flyers etc, is a crucial part of developing this all-round attack and improving your chances of reaching your target market. You know how a funny sticker in a venue bathroom attracts your attention and the next day you Google the band? Yep, that’s how it works. Vijay Nair shared that there is an increase in the use of mobile phone permission-based marketing India clubs. Open bluetooth tactics, plus direct visual aids for text services are becoming more popular, as they can then be targeted to specific areas, and several business are looking at how to pull further data from current databases.

We moved on to the subject of secondary ticketing, and whether the promoter panel were developing any new interesting strategies to prevent re-selling (and touting). Jay Taylor describes how he goes to eBay and report sellers charging ridiculous fees for tickets. He also earned applause by stating that he has approached ‘touts’ outside and confronted them during the act of selling, often asking the punter “How much did that tout charge you? 25? i’ll let you in for 20 and buy you a beer”. A great idea, obviously completely impractical, but amusing nonetheless.

On a final note, when asked what was the best ‘item’ for a band to send to various promoters, the panel was a little split, with some people getting so many emails and links that a CD and half decent press pack will gain more attention. Others have cluttered desks and hate the excessive paper and plastic that a physical demo causes, so a personalised email has more value. My final piece of advice here would be that when you approach press / radio / club contacts with your music, you should offer “Would you prefer a CD or a link to an mp3?”, removing the option of a “no, thank you”.

And so, with that information-overload finale, Unconvention Manchester came to an end for me. I had to hop on a train and miss the last few bands performing at the Blueprint Studios that evening, but managed to buy a cake or two on my way out. Similar to supporting new indie artists by buying their CDs and T-shirts, I firmly believe in supporting great events like this by purchasing the BBQ lunches, pies and cakes, alongside several pints of bitter, cider and (predictably), coffee the following morning(s). The team put on such a great event and I am already hoping to return next year. Here’s to Unconvention Manchester 2010 with pies, cakes, and a bright future to offer the independent music industry.

Lee Jarvis.

Saturday morning, like so many mornings, began well. I awoke at 9am, got myself a glass of water and… promptly fell back to sleep. Being late for the ‘Bands as Enterprise‘ panel was not good move – it was one of the most popular of the weekend. Lack of being able to get a seat and plug in my dying laptop meant a lack of notes on my behalf, and with Martin Atkins on the panel, there were plenty of golden nuggets of information worth re-publishing.

Luckily, several other attendees did just that, and I was even able to catch up on the parts i’d missed via the wonders of technology and Twitter. This is probably also a good time to share links to fellow unconvention-ers and their websites, projects and Twitter handles, so here we go….

“Don’t give up your day job – just keep going until you get fired.”
- Steve Lawson via Twitter

“Live contracts are a red herring. You need an audience to get paid.”
- Steve Lawson via Twitter

“At the moment it feels a bit like 1977 again.”
- Just Press Play blog

“You need fans before you need the guy that is the laywer for The Eagles.”
“Build momentum, before you start thinking about business structures.”
“If you can sustain you can succeed. You will need to focus and make choices. When your bet on everything it will blow up in your face.”
“The moment you have the leverage to get the deal you think you wanted, you don’t need the deal any more.”
“There simply is NO ONE WAY to ‘monetize’ making music. There are a million different ways. Find the way that suits you.”
- Dutch blog Lopend Vuur (Dutch for ‘Walking Fire’)

Also, I’m happy to share this video from Unconvention organiser Ruth Daniel (great work, and thanks for an awesome weekend, Ruth!)

Martin Atkins at Un-Convention Salford 2009 from Ruth Daniel on Vimeo.

After a short while, Martin’s passion and knowledge of the music industry, as well as his no-holds-barred attitude is obvious. Even Andrew Dubber has to agree that he can see why people have described Martin Atkins as “New Music Strategies with swearing”.

After checking out the other Unconvention attendees linked above (all knowledgeable and passionate also), I strongly suggest you research Martin’s Tour:Smart website and purchase his Tour:Smart book, as it’ll teach you more about touring and the dynamics of a band than I could hope to summarise in this post

Lee Jarvis.

‘The Modern Role of Collection Agencies’ was a heated debate on what the collection agencies are doing to collect and manage their data accurately, and how to simplify the processes of applying and maintaining correct accounts for artists.

Granted, the societies have to deal with huge numbers but simple and secure systems should be in place, and the data should be automated from there to the respective departments. One unfavourable point that was raised, and was the cause of much criticism throughout, was that of escalating admin costs for the societies – a valid point when they deduct their admin fees from members’ royalties and operate as a non-profit organisation.

Steve Lawson offered a constructive and educated view, raising both that there is “little sense of you [the PPL / PRS] working on our behalf” and that “accountability and transparency are key critical points now and moving forward”. Again, the issue of expenditure was raised, with reportedly 200,000GBP spent on the PPL website without members’ consent. The PPL say that they sent every one of their 38,000 performers a letter inviting them to attend and contribute to the annual performers meeting, and it was also web-streamed, to which one long-term member said that he received no letter or email invite, and the fact that the PPL were using the postal service and were reliant on pieces of paper to communicate in 2009 was crazy.

The discussion almost ended in a bit of a Stalemate, with PPL and PRS representatives feeling that they are doing enough to move the payment and communications systems and admin fees forward and downward respectively. There were a number of fiery interjections debating about the efficiency of the organisations, and many audience members have varying contact, unsolved payments problems and were ultimately dissatisfied with some of the societies’ answers.

I managed to throw in the last query, which was a change of topic, welcomed by the moderator at that point(!), being: In developing nations, i.e. India, Thailand etc. there are millions of mobile phones / devices are being sold, and therefore there will be millions of music downloads and streams as a result. How do you plan to retrieve data and ultimately collect royalties in these new emerging markets? The PRS rep was keen to point out that they would be limited by the respective parties in those countries, where many associations exist but laws are often vague, rarely followed, and never enforced. Every foreign agency, the PPL has a reciprocal agreement with to collect foreign royalties, and the PPL guy will be travelling to numerous places in Africa and the Caribbean and starting to develop relationships with various artists and organisations, by starting at a grass roots performing level and hoping to build from there.

I think that some of the best comments came from the audience in this section of the conference, and the key point that stuck with me was that people’s perception is an obstacle for the companies to overcome so that more performers feel that they should join them. Attending events such as Unconvention and listening to audience feedback may be one way that they can move forward in this respect.

Lee Jarvis.

The day kicked off on a very different level to yesterday’s panel. Andrew Dubber of New Music Strategies is moderating a panel of artists and label owners with the topic: Outside The Box.

Thinking outside the box should not just be interpreted as inventing a crazy publicity stunt to sell more records. The ‘box’ in this case is what is left of the traditional music industry. The one that was lining the pockets of many non-musicians for the last 70 years. Diverting away from the box, means taking advantage of new technologies and access that is available in the modern digital world. There is no ‘new model’ that artists follow; just because The Arctic Monkeys were discovered via Myspace doesn’t mean that you should operate that way. Sure, Myspace can be part of your arsenal, but being aware of productive and popular sites in general can help you create your own plan of attack. Of course, tying it all in with a good OFFline strategy, be that touring, printed publicity, giving away CDs outside other concerts, creating a buzz so that your fans partake in word of mouth, or all of the above.

It was very interesting, encouraging, and somewhat indicative of a new generation of musicians, to hear the whole panel’s interpretation of success: making a living from music. Not trying to sell 100,000 records and go on a 50-date tour of the US, but being involved in music, being happy, composing, sharing and creating ways to draw income from their passion. If they draw enough to pay rent and eat, they will be satisfied. Of course, there’s nothing wrong with building on this and working hard to move further forward /upward /onward (/inward? /outward?), and Abigail Seabrook commented that she constantly re-evaluates her connotation of success as her career moves forward. Indeed, it should be a fluid thought, and the idea of an ever changing business plan, with no finite date was put forward as an example of the extreme.

The panel discussed some of the advantages of not being ‘in a box’, with many artists loving the control that they have over their own career paths. If your next album wants to be weird and wonderful, you can do so, because you are not trying to regurgitate your last works or re-create *insert popular band here* for your major label puppet-masters. Steve Lawson points out that being unique and pioneering your own sound, style and character can lead to many opportunities. If no-one else plays 18th Century popular music live on harpsichord and cello, then Lady Georgina are in a strong position for anyone involved in that market. Choosing your niche has always been an important part of finding your musical sound, and now it is just as important to consider that when presenting and promoting yourself – not least so that your target market can discover you.

Does the internet favour the remarkable? A great question from Dubber, and one that brought out many an adjective from the panel. The internet can certainly favour the industrious, the cheap, the curious and more. Conversation favours the remarkable (Stef Lewandowski) and with the internet being many ever-evolving conversations, there is an element of ‘yes’, there.

A certain amount of overexposure in the online world can possibly deflate the ‘Rockstar myth’ of artists (read part of my Berklee Music assignment “Internet Music Promotion” for more), but at the same time, people crave authenticity; new media is a great way to create that. Prioritising what works for you and finding your own median is the key to help you connect with effectiveness.

Where does the ‘fun’ part of Friday morning kick in, I hear someone at the back ask…. Well, being at such a positive and intimate event means that I have met many people that are willing to share, offer and possibly most importantly, ASK for information. Connecting with people (some I’d previously ‘known’ online, others never before), has been a great influence and motivator. Top marks to the whole team at Unconvention Manchester for just about everything to do with the event. Heading outside for some sunshine (yes, sunshine in Manchester!), some great acoustic bands and a BBQ added to the ‘extended family’ feel greatly.

The afternoon panel was a heated debate, engaging representatives from the PRS/MCPS and the PPL, as well as many audience members. I’m still writing that blog

Check back for the rest of the show soon!

Lee Jarvis.

Thursday afternoon got off to a great start, meeting up with a couple of people whom I’ve been in contact with but not met before in person. Putting faces to blogs and tweets is always a nice thing, and at a relatively small event like this, it is easy to go around and introduce yourself to new faces too.

The artist’s panel on Thursday afternoon was a lively one. The discussion seemed to start from building a buzz around your music / band / etc, touching on PR companies and if they offer value for independent artists. Cutting through the networking and get those CDs to the all-important ears of magazine and radio tastemakers is an crucial matter. Personally, I would say that if you are truly dedicated to your niche genre then you should already have been in touch with these people directly. You listen to the specialist podcasts and shows with similar sounding artists, go direct, send an mp3, send a CD, chase it up, meet the people at shows and events, build a relationship DIRECTLY with your industry peers and the job of PR companies is not only defunct , but you can do a better job by being genuine and approachable.

The topic of musicians ‘working’ for ‘nothing’ was brought up; in other words, free downloading. I have to say that I think a couple of the artists missed the point of how to reap not only useful information but also indirect revenue from free downloading, be that legal or otherwise. Some of the older artists (no offence, but there is a certain amount of generational differences relating to how to conduct your online strategies), were sticking to the old mantra of ‘if you don’t pay for the musician’s music then they will not / can not make any more music’; believing that you cannot build a successful project from giving your music away for free means that you should re-evaluate your ideas of ’success’. Success is not just about selling records anymore. If you do not consider other factors such as building extensive mailing list, concert ticket sales, a busy gig diary, steady merchandise sales and a strong online presence (be that youtube views, twitter followers etc), then you are missing out on great opportunities to build your reputation and career. As an independent artist, you should relish the fact that you can distribute 10,000 digital copies of your song for the same cost as distributing just 1. The tools and advice are all available online to help you promote your music to an immense audience, and you should try and learn to see success in the fact that if, after giving away 10,000 copies, some of those will pass onto friends, create further fans and so on, to the extent that your music can reach more people in more places than ever before. Just because you don’t receive a measly sum from a profitable record label in return doesn’t mean that you are not achieving results (many of them tangible, too). Following the artists panel, I stuck around for a few of the bands, chatted with the Un-convention Belfast contingent for a while, and then headed off for dinner.

On a side note, I didn’t quite expect so much swearing at the discussion – not that i’m adverse at all, but our venue for the discussion is The Sacred Trinity Church in Salford(!) Then again, I had been drinking beer throughout. Stay Tuned for Friday’s thoughts

Lee Jarvis.

Culture, music, beer, sunshine. This weekend sees one of the ultimate offerings of all these elements under one roof. And by roof I mean ‘district’ of London. And when I say sunshine I mean more beer.

The Camden Crawl is a two day event spanning Friday 25th and Saturday 25th April, showcasing 150 bands, artists, poets and film pieces across 40 venues, ending up on Saturday Night at the Roundhouse with performances from Kasabian and Madness.

As a preview, the lovely people at The Londonist have compiled a collection of free, legal mp3s from the majority of the bands performing. There’s 65 free tracks to download, so you can select your favourites, share the love, and make sure you don’t miss out.

Before this starts to seem like a big promotional ploy or sponsorship for event or website, I’ve no affiliation with either. My reasoning is that music discovery has changed. You don’t hear ‘new’ bands on national radio anymore. Up and coming artists aren’t getting the support of CD sales that they used to, and so live events are becoming extremely important for both performer and punter. Yes, the internet is a great source of new music, but you need a very good filter or the patience of a saint to wade through the endless streams of average (and below) music.

Why the Camden Crawl? Why not? It’s today, you have nothing better to do, and the free download taster just tops it all off (oh, did I mention the beer?). Head over there now and buy your tickets before it’s too late.

Unfortunately I won’t be there this year, but you can certainly thank me at future events. I accept beer, in case you’re wondering.

Lee Jarvis.

Is the music industry in serious decline or is it booming? Well… both.

‘Economy’, ‘Credit Crunch’, ‘Recession’. All very real to some people, but at the same time as the job cuts, the music industry is reaching more people who are consuming more music and more artists are making a living from it (some are even selling downloads and merchandise by the truckload). So what IS going on?

Forward thinking music 2.0 businesses that should be expanding are being forced to cut back.
Sirius XM laid off 50 staff including some disc jockeys, Pandora had to cut their team from 140 to 120.

These businesses are thriving in one sense, with more members, fans and subscribers every day – Pandora also stated that their listenership is ‘growing rapidly’ – and yet they are still struggling to fund their staffing costs. I think that this is because their ideas and business models are sound, but the market and industry as a whole is just not ready for them. Not just yet. The ones that aren’t adapting are looking even gloomier; Time Warner is expecting to cut 1,250 jobs across the media and entertainment sectors following it’s recently reported fourth quarter loss.

Then there are the small music businesses that are doing well, making a successful living from the music industry (isn’t that what it’s all about?). More people are doing so every year. They are selling downloads, CDs, T-shirts… it’s great!

Music businesses are split into two sections in my mind. There are the businesses of old, who have always relied on selling huge numbers of a physical product and ignoring the new ways of connecting with music fans. You’ll hear from them that ‘pirates’ are causing job losses, but in reality, they are selling less physical products than they were 10 years ago because 10 years ago people were still buying CDs in bulk to replace their out-of-date cassettes and vinyl. Those figures were unsustainable and it was unrealistic to expect that surge of purchasing to continue. The other trouble with that strategy in today’s digital world is of course, single song downloads. Why buy a turkey of an album for $15 when iTunes offers the best song for $.99? So yes, Sony’s music profits have declined 41% and Warner music can increase digital revenue yet the total revenue slides 11%. These companies are struggling to find a new way. We all know that.

The other section of businesses I would call music 2.0 businesses. People and teams who are looking for new models for success in the music industry. They may be online distributors or sell music-related products or services. They may be websites streaming to consumers for free (gasp(!)) or an artist giving their tracks away. What sets them all apart is how they look at building a community and reaching out to fans, with a view to creating real interaction, enjoyment and value for the consumer. Often on a personal level, because blogs and websites may be run by independent bands, and therefore often it’s the artists themselves answering the emails. This makes their music genuine, appealing, and because they don’t blow hundreds of thousands of dollars on old media marketing of average artists, they can (and do) succeed woth a small yet loyal fanbase. You could even put a band such as Radiohead in this sector, because although they are affiliated with a major label, their idea of branching out with a new concept and a ‘name you own price for our album’ strategy created a stir as it tried to push music consumerism forward.

Many successful careers and companies are crafted during tough economic times, let’s face it, people can’t throw money around so they only make the smart decisions (Gary Vaynerchuck taught me that). The smart advertisers and investors are siding with the ‘future’ of the music business, and shifting away from the dinosaurs, hence the split in the news headlines.

Maybe you should think about where your music career is now, where you want to be, and how you can appeal to fans and investors alike in these tough times, in order to create a relationship that you can both benefit from.

Lee Jarvis.