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Discover the latest music trends and insights with A&R Factory. Stay informed and inspired as we explore the dynamic music industry landscape where we cover the latest music industry trends, analysis and predictions in the industry. Whether you’re a music enthusiast or industry professional, A&R Factory is your go-to source.

Spotify Has Sunk to a New Low, and So Will Royalties for ‘Less-Popular’ Artists

Posted on 29 October 2023
Spotify Royalties

Despite the pleas from musician unions, campaigns spearheaded by the likes of Broken Record and the UK government calling for a total reset on the streaming royalties model, there is a rumour buzzing around the music industry mill that Spotify is going to make one of its most unpopular moves to date by demonetising less-popular artists.

While it is little more than hearsay and conjecture at this point, there are swathes of viable sources indicating that a major shake-up is set to arrive in 2024. Also, it is incredibly unlikely that Spotify would decide to needlessly taint its already besmirched reputation amongst independent artists and champions of grassroots music.

Which Shake-Ups Set to Rattle the Coins from the Pockets of Independent Artists?

Earlier this week, Spotify garnered even more disdain after it was leaked that the streaming giant is poised to shake up its streaming royalty framework, potentially skewing payouts away from lesser-known artists.

Rumblings suggest that Spotify intends to establish a threshold for song streams before artists are compensated for their creativity. In potentially one of the platform’s most inequitable and discriminatory moves in its recent history, artists are being warned that if they previously received less than 0.5% of Spotify’s royalty pool, they could be totally excluded from receiving their meagre royalty payouts.

According to Billboard, this is set to affect up-and-coming artists and creators of white noise or ambient nature tracks. While it makes some degree of sense to punish the ‘artists’ who are oversaturating the streaming platform with quite literal white noise, the reprimand that will undoubtedly make independent artists think “What is the fucking point?” is totally unjustifiable. Especially as it appears that a large part of the incentive behind this move is to funnel more funds towards the more mainstream artists.

Spotify’s official stance, as voiced to Mixmag, hints at their continuous efforts to refine the platform for artists, though specifics are under wraps. Trade unions and musician groups, including the United Musicians and Allied Workers, have aired their grievances, opining that such reforms might further pad the pockets of music moguls, but that should never come at the expense of side-lining grassroots artists. Furthermore, the Future of Music Coalition observes Spotify’s growing drift from its original promise: a democratised platform treating all tracks equally.

It comes as no surprise that oligarchs like Universal Music Group (UMG) are warming up to this shift, leading to rife speculation over a budding pact between UMG and Spotify, touted to champion ‘genuine artists’ with devout fan followings. This revamped royalties blueprint is slated to see the light of day come next year.

Until then, the United Musicians Union and Allied Workers Union aren’t letting sleeping capitalist dogs lie. Their reaction iterated that artists have solutions to fix the issues surrounding streaming loyalties, but Spotify has tuned out of the conversation before chastising the proposed changes which will make the music industry even more of a pyramid scheme. Resistance isn’t futile. Make your opinions on these new manifestings of late-stage capitalist malificence known.

Which Streaming Platforms Pay Fairer Royalties to ‘Less-Popular Artists?

Spotify may hold the monopoly on the music streaming industry in the UK, but it isn’t the be-all-end-all for musicians who fall shy of the streaming stats of mainstream trailblazers.

It is worth bearing in mind that a platform with a smaller user base, but a higher stream rate might not necessarily be more lucrative for an artist than a platform with a vast user base but a lower per-stream rate. Furthermore, when it comes to discoverability and features, there are few which can outshine Spotify. We have written countless articles on how Spotify as a music marketing tool can provide independent artists with value beyond the streaming revenue, which we still stand by, regardless of its CEO’s determination to become the music industry’s most nefarious figure.

Considering the above, here are some platforms and models that were touted as being “fairer” to less-popular artists:

  1. Bandcamp: This platform allows artists to set their own prices on digital and physical releases, and often gives a higher percentage of sales directly to the artists compared to other platforms.
  2. SoundCloud: Known for its direct engagement between artists and fans, SoundCloud provides a platform for emerging artists to showcase their work and grow their audience. It operates on both a streaming royalties model and a direct purchase model.
  3. Resonate: This is a co-op-based streaming platform that uses a “stream-to-own” model. After a certain number of streams, the user owns the track. The idea is to provide a more equitable distribution of revenue.
  4. Tidal: Founded by Jay-Z and other artists, Tidal claims to pay a higher per-stream rate than royalties from competitors. However, its smaller user base compared to Spotify or Apple Music can affect total revenue potential.
  5. Direct fan funding and tipping: Platforms like Twitch and even Spotify have introduced or considered features where fans can directly tip or fund their favourite artists, providing another revenue stream beyond just streaming.

Furthermore, it is crucial for artists to consider multiple revenue streams (live performances, merchandise sales, licensing deals, etc.) in addition to streaming revenues.

There may come a day when the dynamic streaming landscape starts to fairly pay artists their dues, but if you do have a dog in the fight, align yourself with advocacy groups and movements pushing for fairer pay and more transparency in the streaming industry.

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For more advice on how to monetize your music career and ensure your music career has some degree of sustainability, keep following our blog, or get in touch and enquire about our artist development services.

Article by Amelia Vandergast

How Musicians Should Prepare for Spotify Wrapped 2023

Posted on 22 October 2023
Spotify Wrapped 2023

Instead of Spotify Wrapped catching you off guard this year, gear up for the 2023 launch by creating content to share across your social media platforms, restocking your Spotify merch page and preparing a short video which will be presented to your top fans to make the most out of the momentum of the annual event.

Spotify Wrapped has been knocking around since 2016, but in 2022 Spotify took the event one step further by giving the artists the opportunity to share reels and take advantage of other features in a bid to help fans get closer to their favourite artists.

To maximise the momentum and monetization, Spotify for Artists has produced a guide for artists to prepare for the biggest fan moment of the year. If you are wondering if it is worth the effort, a Spotify article revealed that fans wanting merch from their top wrapped artists led to the biggest ever week of artist merch sales on the platform!

Every year Spotify Wrapped rolls around, there are swathes of cynics bemoaning the value of Spotify royalties and fans; yes, one t-shirt is the equivalent of thousands of streams, but no guns are forced to the foreheads of music fans forcing them to choose between buying a band tee and paying for a monthly Spotify subscription. Leave the pessimists to their lament; hundreds of millions of listeners around the world come together for Wrapped, focus on them and how you can thank your fans for their support.

British Band Makes a T-Shirt Inspired by Abysmal Spotify Royalties

When Will Spotify Wrapped Streaming Data Be Released in 2023?

Spotify will cease collecting streaming data on the 31st of October; currently, it is rumoured that the data will be released a few weeks later; however, Spotify is keeping the Wrapped release date under wraps for now, aside from the advice that artists should get a video ready by the 15th of November.

Your Spotify Wrapped 2023 Check List

  1. Record a Wrapped Video Message

Your Wrapped video message will appear in your top fans’ Wrapped experience; it should be 30-second or less address to the fans elucidating what their support means to you. You can also tease what you have lingering in the pipeline to add some hype around your future releases or plans! Shoot the video virtually, come up with a catchy caption, and leave your music on your Spotify page and out of the audio.

  1. Give Your Top Fans Access to Discounted Merch

Adding discounts to merch for only your most devout fans is a brand-new feature for Spotify Wrapped 2023. Unfortunately, this feature is currently only available to artists in the US and Canada. If you want to give your top fans a discount, ensure your discount rewards are set up by the 15th of November by heading to your Spotify for Artists page, hitting the merch tab and creating the discount.

  1. Create or Refresh Your Spotify Merch Stall

If you are outside the US or Canada, you can still maximise your merch sales by adding exclusive and new merch to your Spotify merch shop. There’s no harm in attempting to clear old stock either! Just make sure the items you want to sell are the five recently added items and your merch will be promoted to your top fans via their wrapped experience and email. For more info on how to sell merch via Spotify, read the Shopify merch guide.

  1. Promote Your Upcoming Shows

If your tour dates are listed on any of Spotify’s partner sites, your top fans will be informed where you are playing and tempted into buying tickets. To name a few, ticket partner sites include DICE, Eventbrite, See Tickets, Songkick and Ticketmaster.

  1. Prepare Your Spotify for Artist Profile

  • Even though it is likely that your top fans are already following you on your social media pages, double-check check all your social handles are added and up to date.
  • Playlist your top 2023 picks via your personal account on the Spotify app to highlight your top 2023 releases and the tracks that inspired you throughout the year. It is a great opportunity to help give other bands some recognition!
  • Set up a Fan Support link. If asking for virtual donations or ‘end of year tips’ makes you feel uncomfortable (it shouldn’t), you can always ask for donations for a charitable cause you feel strongly about which will help fans to understand you on a deeper level and raise funds for a worthy organisation.

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For more advice on how to increase your Spotify streams and boost your monthly follower count, learn more about our artist development and consultancy services.

Article by Amelia Vandergast

Have Paid Meet-and-Greets Become the Music Industry’s OnlyFans Equivalent?

Posted on 15 October 2023

Following the pandemic, which gave way to an equally as economically detrimental cost-of-living crisis, plenty of us are doing whatever it takes to get by, and musicians are no exception. Times are tough, and it’s even harder to get music fans to feign enthusiasm for new music; the collective sense of ennui is practically aurally impenetrable, which is making artists increasingly reliant on their ‘super fans’ who would spare no expense to engage in a meet-and-greet experience with their icons.

After reading the sullen and begrudging interview Doyle from the Misfits gave on the necessity of charging fans for meet-and-greets to make ends meet after fans “stole his music”, I couldn’t help but draw the parallels between the swathes of people becoming OnlyFans creators and the vast increase of artists charging for the pleasure of meeting them

In December 2019, there were 100,000 creators on OnlyFans. Fast forward to 2023, and there are 2.1 million content creators, and that is only the tip of the ‘Subscribe to Me’ iceberg. A business article in TIME dubbed the business model as the future of working culture with the rise in platforms such as Twitch, Patreon and SubStack.

As many traditional modes of work are unable to match the rates of pay for people talented, engaging, or attractive enough to sell subscriptions, there is absolutely no shame in adapting to economically survive, and running in the parallel lines between artists charging extortionate fees to share the same air with them and people taking to OnlyFans to fund their existence is by no means an attempt to throw shade at the latter.

The Rise and Controversy of the Meet-And-Greet Experience

In 2019, MTV documented how paid meet-and-greets have become a staple of gig experiences; even with the significant jump in ticket pricing, artists and their record labels are still mercenarily wanting to bleed more out of devout followers. Depending on the VIP experience in question, well-funded fans can get the chance to watch the artist soundcheck, take home exclusive merch, take a selfie, and briefly chat with the artist. But the monetisation of fan interactions doesn’t sit well with everyone.

One of the loudest voices in the chorus against the commodification of interacting with artists has been Matt Healy from The 1975. When questioning the motivation behind the priced interaction packaging, he delivered a blow to the major labels which have normalised the experience, adding more elements of exhaustion to the touring experience. It’s a fair point, although not one which excuses his recent racist downfall!

Members of the pop-punk outfit The Maine have also commented on the phenomenon, stating that it is hard to turn down the money which can be on the table from the cost of a handshake, but they are standing firm in their view that music should never be about your position of monetary privilege. Funnily enough, I want to go and buy all their records now.

Fans have also noted that the more you love an artist, the harder it is to refuse meet-and-great packages. But plenty of people are still arguing in favour of the experiences, including the tour manager, Emmy Levine, who believes the pricing of them is fair when considering the overlooked costs of touring. Apparently, when setting the pricing models for meet-and-greets, there was no other option than charging hundreds of dollars, in addition to the cost of a ticket, which can easily reach three figures alone. I would be inclined to believe her if it wasn’t for the artists who get by just fine without putting a premium price on a social interaction.

There’s a reason why paid meet-and-greets were banned by the founder of the Warped Tour festival when he established it in 1995. Kevin Lyman rightly believes that the minute bands charge to meet fans is the moment the interaction becomes nothing more than a transaction. He recognised that even if paid VIP experiences would be immediately more financially beneficial for bands, in the long-term, it’s only going to warp the artist-fan dynamic and potentially leave fans less inclined to show their support in the future when it finally sinks in that it is preposterous to pay money to meet someone and experience a meaningless exchange.

Some artists are getting inventive with their meet-and-greet incentives in a way which doesn’t completely diminish the interaction. Take LANY who have been in the habit of randomly selecting 15 – 20 of their fans to watch the soundcheck and hang out with the band as one of the better examples. Their innovative approach to adapting to their growing popularity which removed the plausibility of hanging around with fans after the show should set the standard for artists who are starting to take advantage of the artist-fan dynamics.

Meanwhile, the rapper G-Eazy wanted to find a way to fund bringing his barber on the road with him, so he allowed his fans to fund it by charging them excessive fees to have the same haircut as him and Incubus is charging $10k to go backstage with them. EVEN with the inflated cost of touring, there’s no way that is justifiable. And it may sound like a nice gesture for Disturbed to distribute some of their VIP revenues to charity, but what is the point in taking the money of the fans in the first place?! Extortion is extortion. It is no less nefarious if the perpetrator is your favourite artist.

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If you want a few ideas on how to increase your revenue streams without extorting your fans via meet-and-greets, read our blog on the value of super fans. 

Article by Amelia Vandergast

How Synthwave Became an Unreckonable Force in the Music Industry in 2023

Posted on 9 October 2023
Synthwave

Love it or hate it, the retro-futurism of synthwave and retrowave is here to stay, at least until a new sonic trend comes along, which is hopefully sooner rather than later because the music industry can only take so many up-and-coming artists assimilating The Midnight, Gunship, and Timecop1983.

Whether you delve into R&B, rock, pop, or electronica genres, you are bound to find artists struggling to leave the neon-soaked iconography of the 80s in the rearview mirror and determined to tap into society’s lust for nostalgia.

200+] Synthwave Background s | Wallpapers.com

The 21st-Century Obsession with 80s Aesthetics

The music industry is far from the arena choked with retro-futuristic aesthetics; the wider landscape of pop culture is luminous with backlit lights; films such as the 2011 hit Drive, the Hotline Miami videogame, and TV shows such as Stranger Things can all be pinpointed as culprits in this cult-like obsession with nostalgic synth-driven soundscapes.

While neither electro-pop nor synthwave has ever been fully shunned from the mainstream, it is back with an analogue vengeance with more artists inclined to tap into the feel-good factor of nostalgic melodies, characteristic synth lines and pulsing rhythmic beats and patterns.

It is far from just the addictive hooks perpetuating the appeal of the retro genres. The desolation, dystopia, and isolation of the COVID-19 era have also been attributed to the unreckonable force of retro-futurism.

During the multiple lockdowns, which paused live music and left people confined to their homes, people found themselves finding escapism via music, and notably, there were few better escapist avenues than the ones synthwave provided. Take the success of Charlie XCX’s album, How I’m Feeling Now, and anything the Weeknd has ever created as a prime example; The Weeknd is still the most streamed artist on Spotify with 111.2 million monthly listeners; his hit single, Blinding Lights broke records after it became the most streamed single history. To date, it has garnered over 3.827 billion streams.

A Brief History of Synthwave

Synthwave started to emerge in the mid-2000s, when the French house producers, David Grellier and Kavinsky started to emanate 80s film soundtracks in their soundscapes.

Download This John Carpenter-Themed Retrosynth Album

Other musicians and producers who jumped on the bandwagon were keen to assimilate the likes of Tangerine Dream, New Order, and Gary Numan, while visual artists were instantly obsessed with neon lights, Ferraris, and pretty much anything to do with Miami, and John Carpenter seemed to be at the epicentre of it all until the premiere of the Ryan Gosling film, Drive, in 2011. Shortly after, the likes of Cassius, Stardust, and Daft Punk played a pivotal role in the glamourisation of 80s imagery.

Initially, synthwave represented a rejection of the 90s sonic styles; today, there is little semblance of rebellion with the mainstream appeal of it. Even Taylor Swift has hopped on the bandwagon with her 2022 album, Midnights.

Where Do We Go From Here?

Just as the rock and hip-hop genres managed to diversify themselves, we have little doubt that innovative artists will come along with the ability to make the synthwave sound a little less derivative. However, as nostalgia is much a part of the music as the 4 / 4-time signatures, which provide a kick on every beat of the bar, and the staple drum machines and synths, it’s unlikely that the evolution of the genre will ever blast into an entirely new stratosphere. But for what it is worth, Synthwave has already spawned swathes of subgenres. To name a few, they include:

Dreamwave – the downtempo sister of synthwave, which comes with higher tones and higher frequencies.

Scifiwave – an iteration of synthwave with a heavier emphasis on orchestral and cinematic synthetics.

Vaporwave – a more satirical and ambient exploration of 80s and 90s stylings, which is often confused with synthwave.

Sovietwave – surreally everything that it says on the tin; soundscapes which euphonically encompass the fall of the Soviet Union.

Darkwave – a darker and more gothic approach to synth wave; a genre defined by the sounds of Carpenter Brut and Perturbator.

Download Synthwave Wallpaper

When we asked AI to predict the future of the genre, it had even bigger ideas, envisioning the genre reaching even bigger heights with augmented and virtual reality immersive experiences for music fans, hologram-littered visual shows and entire festivals dedicated to synthwave artists.

Time will only tell if the genre can sustain its legacy, but as technology evolves, there is plenty of expectation that synthwave will follow suit. Although, after the excessive appropriation of the 80s sound, there is every chance that a new revivalist era will begin.

After all, trends work in cycles, which means a resurgence in Britpop, grunge, and nu-metal may be becoming overdue! It used to be that trend cycles lasted for 20 years, but internet culture has wreaked havoc with those trend cycles. Now, the music industry is era’s game.

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For more updates on music industry trends, keep following our blog, or learn the importance of nostalgia in music by reading our piece on the neurology of nostalgia and the price the music industry pays for it.

Article by Amelia Vandergast

An Independent Artist’s Guide to Radio Play

Posted on 2 October 2023
Radio

Despite the radical transformations of the media landscape in the last ten years alone, radio is hanging in there and refusing to become a fixture of a bygone era. The oldest mode of transmission is keeping its relevance by continuously adapting to the needs of musicians and the habits of music fans. Before you argue it has become outdated, learn how it has been reinvented.

This article will cover how radio waves have continued to reinvent themselves, stats to prove that radio play is still worth garnering, and a guide on how to get yourself on broadcaster’s A-lists.

The Evolution of Radio

In 1979, it was decreed that video killed the radio star, but it appears that the new wave synth-pop outfit spoke too soon. Radio could have easily faded into obscurity if it didn’t metamorphize in the following ways.

  1. The Digitalisation of Radio

Traditional radio broadcasting is still hanging in there, but the digitalisation of radio was fundamental to its survival. From on-demand radio shows to partnering with streaming services to defying previously imposed geographical boundaries to the higher quality of DAB+ transmissions, every evolution radio has undergone has enabled broadcasters to provide a more flexible, enjoyable, and convenient listening experience.

  1. The Adoption of an Analytic Approach

Music fans who regularly tune into radio stations aren’t short of options. The competition between stations is fiercer than ever, which is why many broadcasters have adopted a data-driven approach to keep their audience engaged. Data and analytics can allow radio stations to target and engage with specific audiences; the data often includes social media interactions, listening habits and listener demographics.

  1. The Introduction of Visual Radio

Just like Windows Media Player used to mesmerise users with hypnotic graphics, radio stations haven’t missed this trick. Visual radio can only be used and enjoyed on internet radio services; it employs multimedia software and tools to broadcast visual content, which can range from fully-fledged music videos to simple promo slideshows. Adding a visual layer to broadcasts can add information about a band, provide context to the music, or simply add an aesthetic point of interest.

  1. Pandering to the Demand of On-Demand Content

Gone are the days when people enjoyed content on a broadcaster’s schedule. Just as fewer people watch TV shows as they air, media consumers prefer to engage with content when it is most convenient for them. This radical shift in radio transmissions has made radio far more convenient and accessible; it has also enabled independent artists to reach a wider audience and given music companies fresh ideas on how they can monetize their content.

How Relevant is Radio in 2023?

In 2023, commercial radio is celebrating its 50th anniversary, and plenty of music fans are keen to attend the party.

Earlier this year, Ofcom reported that 88% of the adult population in the UK tune into some form of radio station for at least 20 hours a week, including online, analogue and digital radio shows. However, there has been a marked shift towards online listening, with one in five listeners choosing to tune in via their smart speakers.

In April 2023, Mostly Media reported that commercial radio revenue grew throughout 2022 and into 2023. At the end of 2022, commercial radio stations reported a record-breaking revenue stream of £740 million. The CEO of Radio Centre, Matt Payton, stated that radio’s performance is continuing to defy all expectations; even the challenging economic times can’t rain on the 50th-anniversary parade. He may have been speaking about brands, not bands when he stated that radio campaigns increase awareness by 49%, relevance by 24%, trust by 32%, and consideration by 18%, but how can that not apply to musicians?!

How to Get on the Radio as an Independent Artist

Getting airplay as an independent artist can be challenging due to the competition and the dominance of major record labels. However, with persistence, strategy, and quality music, it’s certainly possible. Here’s a step-by-step approach to help you increase your chances:

Create Quality Music: Before anything else, your music must be high quality. Ensure it is well-mixed, mastered, and radio-ready.

Research Stations: Not all stations will be a fit for your music. Look for local, college, community, and independent stations that play your genre or have a reputation for supporting independent artists.

Prepare a Press Kit: This should include:

  • A short biography (story or unique angle about you)
  • Contact information
  • High-resolution photos
  • A CD or digital copy of your song(s)
  • Press clippings, testimonials, or notable performances
  • Social media and website links

Network: Personal relationships can be a key element to success on the radio waves. Attend music conferences, industry events, local shows, and anything else where you might meet DJs, hosts, or station programmers.

Use Digital Platforms: Services like SubmitHub can help you send your music to a range of stations and bloggers. Some charge a fee, so do your research and decide what’s right for you.

Send Your Music: When you’ve identified the right stations and contacts:

  • Address them personally (avoid generic greetings)
  • Briefly introduce yourself
  • Share why you believe your music is a fit for their station/listeners
  • Include your press kit and music
  • Follow up after a week or so if you haven’t heard back

Foster Local Support: Engage with your local community. If you can build a strong local following, local stations will be more likely to take notice and play your music.

Internet and Satellite Services: Don’t forget platforms like Pandora, Spotify, Apple Music, or SiriusXM. They might offer more opportunities for independent artists compared to traditional FM/AM stations.

Stay Persistent and Patient: It’s often not about getting on the radio on your first try but building relationships and consistently delivering great music.

Hire a Plugger: If you have a budget, consider hiring a radio promoter who already has established relationships with stations. They can pitch your music on your behalf.

Stay Active: Being active on social media, having consistent gigs, or getting press can increase your chances. Broadcasters are more likely to play artists who are making waves in other ways.

Alternative Routes: Consider appearing on broadcasts as a guest, getting interviewed, or performing live. This can give you exposure even if they aren’t playing your track.

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For more music marketing advice and inspiration, keep following our blog or submit music to our indie blog, which always has space for independent artists looking to leave their footprint on the music industry and build their legacy. As a top 10 UK music blog run by a team of grassroots music advocates, we’re always looking to discover the next breakthrough artists to champion!

Article by Amelia Vandergast

Wipe Away the TERF Tears: Freedom of Expression Was Never Permission to Perpetuate Hate in the Music Industry

Posted on 23 September 2023

This week, the vitriol machines that used to be civil enough to warrant calling them social media platforms have been ramping up in rancour after a musician, who openly declared her ambivalence towards the transphobic label being affixed to her, appeared in a Daily Mail article on how ordinary women are being “cancelled for putting themselves on the front line of the gender war”.

Ironically, the headline which proclaimed, “First they came for JK Rowling, but that wasn’t enough”, was penned in the same vein as Martin Niemöller’s ‘First They Came…” poem, which was written after sympathising with Nazi ideas and supporting radically right-wing political movements but later saw sense after enduring eight years in Nazi prisons and concentration camps. That is just the tip of the cognitive dissonance iceberg for the people ‘going to war’ with one of the most marginalised and vulnerable subsets of society.

First they came... allying the black community

Before we get into how the music industry has a right and a duty not to propagate and exacerbate the hysteria and hate of the anti-trans moral panic clusterfuck, which echoes the themes that have always been utilised to demonise minorities, a brief history of how we got here is necessitated to lift the thin veil of virtue that rallying against trans people is a righteous act to protect women and children.

What Triggered the Moral Panic Which Fuelled the TERF Movement?

In 2022, Vice revealed that transphobic hate crimes have tripled in the last five years due to factors which interlink the mainstream media and far-right provocateurs and followers.

It is no coincidence that there was a 400% increase in disproportionately negative coverage of ‘trans issues’ from 2014 to 2019. For context, most moral panics are media-driven. And now that many mainstream figureheads have independent platforms to push their narratives into the mainstream consensus, the extreme-right activists are only becoming more emboldened. Funny how the oh-so-impressionable alt-right thinks they’re the freedom thinkers/fighters whereas the left are cultish sheep, isn’t it?

Comedians pushing anti-trans narratives in their comedy specials gave your average, otherwise amicable, members of society the opportunity to enjoy transphobia in a cosy and jovial way. After all, they’re *just* jokes – jokes which normalise prejudiced contempt. And it wasn’t just the likes of Ricky Gervais and Dave Chapelle who were guilty of embedding transphobia in society. The documentary Disclosure, which aired on Netflix in 2020, documents how damaging the portrayals and depictions of transgender people have been on the trans community. Even though the intent of every comedian or script writer may not have been overtly malicious, that didn’t prevent them from supporting a global reactionary movement. They still reinforced far-right tropes and fuelled the Trans Exclusionary Feminist, LGB Alliance and Gender Critical fires.

Today, transphobia isn’t just an idea that is floating around out there. It is an organised agenda hell-bent on demonstrating that transgender people aren’t welcome in society. The main drivers of the hatred seem oblivious to the paradoxical nature of their fear; how can a small minority with little institutional power pose a risk to the majority?

It’s essential to understand that “moral panics” aren’t just spontaneous outpourings of public anxiety but can be shaped and driven by various stakeholders for different purposes. The anti-trans moral panic is no exception and is rooted in misunderstandings, prejudice, and strategic sociological manoeuvring.

Along with the increased visibility of trans people, the bathroom bills in the US in the 2010s, the televised debates on healthcare, sports and self-ID, and the politicisation of transgender rights during the US mid-elections, the media has created a perfect clickbait transphobia storm.

Just as gay men were routinely portrayed as paedophiles in the 80s when they got roped into the sordid gay conspiracy theory, the same is happening to trans people while they are fighting for their rights and access to services and healthcare. To signify just how much of a worrying epoch we are in, earlier this year, Neo-Nazis rocked up to an anti-trans rally in Melbourne and started to give Nazi salutes. Funny how the quote “Tell me what company you keep and I will tell you what you are” springs to mind.

Neo-Nazi group storms pro, anti-transgender protest in Melbourne's CBD | Herald Sun

Transphobia and the Music Industry in 2023

Given the prevalence of transphobia in 2023, it was only a matter of time before it infiltrated and started to defile the music industry. Thankfully, unlike streaming services such as Netflix, which is happy to platform transphobic comedians who can’t even wrap their heads around the concept of gender dysphoria, let alone how difficult it is for trans people to get on with their lives in peace, the music industry’s view of transphobia is still largely dim.

Last week, the BBC stood firm on its decision to air the single, They/Them, by London’s queer punk outfit Dream Nails and didn’t bow to the pressure from listeners to remove it due to the inclusion of the lyrics “kick TERFs all day”. Since the 70s, punk has always been at the vanguard of the vital backlash against far-right extremism; take the Dead Kennedy’s track, Nazi Punks Fuck Off, as the perfect example. Nazi skinheads weren’t all too happy when it debuted in 1983, just as TERFs are appalled that their malice is being met with retaliation.

In the recent Daily Mail article, which attempted to portray women as the victims of their transphobic hate, Louise Distras bemoaned the journalists, radio stations, and her booking agency who rightly refuse to have anything to do with her for the self-piteous bile spewed across her social media platforms (anyone got a tiny little violin I can borrow?). She also attempted to align herself with Roisin Murphy, who aired transphobic comments, then later had the sense to revoke them and apologise with a statement on how fixed views on the treatment of trans children aren’t helpful. But Distras is standing firm on her position and attempting to rally the transphobic troops that will continue to support her career.

Image

Depressingly, she’s not short of support; there are still plenty of people fooled by her guise of an incessantly victimised artist as she continues her attacks on the transgender community, who are battling with self-stigma, barrages of microaggressions, and far more serious instances of physical and emotional abuse which lead to being disproportionately affected by suicidal ideation.  Earlier this year, a study revealed that nine in ten young trans adults in the UK have suicidal thoughts. So much for that ‘what about the kids?!’ trope TERFs are so fond of.

Trans people are in no way attempting to take away the “hard-won rights that women have fought for”, especially not in the music industry, which is one of the main arguments of Distras. Gender discrimination and instances of sexual assault and harassment are, of course, major issues for women in the music industry, but as a recent study by TuneCore and Believe illustrated, trans people are victimised even more so than women. 34% of women in the survey reported instances of sexual assault and harassment, for trans people, that percentage rose to 42%.

In the digital era of music, when artists can easily solely rely on the support of their fans, and there’s no shortage of transphobes looking for artists who can soundtrack their prejudice, silencing right-wing extremist views is harder than what it would have been a few decades ago. This is why this is a crucial time for everyone to question their media-implanted grievances with trans people and start being an ally, sooner rather than later to avoid the same retrospective regret as Martin Niemöller…

Article by Amelia Vandergast

Streaming is King: Here’s How to Conquer the Domain in 2023

Posted on 17 September 2023
Music Streaming

As streaming platforms, such as Spotify, which continues to reign supreme in 2023 with a dominant market share, reached saturation point a long time ago, independent artists have a seemingly impossible task ahead of them if they want to hit the ground running with their new releases and become popular playlist staples.

Perceptibly, battling it out on the streaming platforms themselves has become futile. New uploads are just a drop in the ocean, and it is enough to make the era of indie landfill in the 2000s and 2010s seem like a euphonic utopia of opportunity. It is no surprise that given that we thought music was derivative then, we are positively dejected by the prospect of an industry where millions of banal hits pile onto the airwaves each year.

So, what’s the remedy?

It may be the case that streaming platforms are proliferated by hack hobby musicians, and there isn’t a lot that can be done to prevent their access to streaming platforms. But for professional musicians worth their salt, there is everything left to gain in the industry. Well, relatively. New up-and-coming artists who have any true staying power in the charts have become sonic unicorns. Especially with the disappearing phenomenon of the mainstream music industry, but great music, which is marketed as masterfully as it was made, still has a fighting chance. Especially for artists willing to harness fan power.

Marketing your music outside of streaming platforms has become crucial to making an impression. Or at least achieving streaming stats and monthly listening figures that don’t want to make you throw the towel in. If you’re searching for the average number of followers, monthly listeners, or streams you need to be regarded as a success in the industry, you might as well be looking for the average length of a piece of string. There is no fixed number that you can achieve that will signify that you’re a success – unless you’re Bad Bunny, Taylor Swift, Drake, or the Weeknd, that is.

Streaming stats boil down to several factors. From whether your genre or style thrives on streaming platforms to how much money you throw at a pre-release campaign. It isn’t always a case of the best artists being the ones to send their streaming stats through the roof. Therefore, streaming stats aren’t yardsticks you should use to determine your worth as an artist.

This article will highlight up-to-date streaming platform stats to show you what you are up against as an independent artist, before suggesting some of the ways you can ensure your new releases rack up the streams and garner fans who will support you away from streaming platforms – which is where the real revenue streams will start to flow.

2023 Music Streaming Stats

To conquer your enemy, it pays (in this instance, $0.003 – $0.005 per stream on average) to know them. To understand the music streaming market in 2023, we have collated a list of streaming platform stats:

  • 10,000 – 50,000 monthly listeners will help you earn $100 – $600 each month.
  • The Weeknd and Taylor Swift are the only artists to break the 100 million monthly listeners mark on Spotify with 106.89 and 100.91 monthly listeners, respectively.
  • Ed Sheeran and Ariana Grande are the most followed artists on Spotify with 115.03 and 93.76 followers, respectively.
  • As of September 2023, Spotify holds music from 11 million artists; their music is listened to by 551 million active monthly listeners.
  • The rate of Spotify uploads continues to soar in 2023, with an average upload rate of 120,000 per day.
  • You would need 625 million subscription streams or 1.875 billion free streams to achieve gold certification on streaming platforms alone. Which is infinitely higher than the 500,000 album or single sales you would need away from streaming platforms.

How to Increase Streams on Independent Releases

When it comes to streaming platform stats, remember that everything is relative; your milestones should always be set based on your current standing in the music industry and what is possible based on your marketing budget. By setting attainable instead of lofty and ‘in a perfect world’ goals, you will have something to push for and celebrate to achieve.

Here are some of the best ways to maximise the success of your singles, EPs, and albums across streaming platforms:

  1. Value user-generated playlists as much as Spotify-curated playlists. Read our guide to getting playlisted here.
  2. Start marketing your new releases and pushing your pre-save links across all your social media accounts six weeks ahead of the release date and create unique content to make the countdown interesting.
  3. Collaborate with artists who already have a strong presence on streaming platforms or partner up by curating your own playlists.
  4. If you have a strong enough social media presence, consider paid advertisements on Facebook and Instagram.
  5. Link up with pluggers, and promoters who have a track record in maximising streams.

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For more inside views into the music industry and tips on how to take your music marketing campaigns to the next level, keep following our blog, or get in touch for one-to-one sessions with our award-winning A&R team.

Of course, you can always boost your streaming stats by submitting your demo to our top 10 UK music blog, which is heavily frequented by staunch music fans and industry figureheads, who are always scouting for fresh talent.

Article by Amelia Vandergast

Warner Made History By Signing the Virtual Pop Star, Noonoouri

Posted on 10 September 2023

With the advent of increasingly futuristic AI tech, people are rightly fearing that the adage out with the old will lead them to obsoletion. Especially within the realm of the music industry; an already an inhospitable ecosystem for many independent and up-and-coming musicians to foster their talent.

Between AI fears, unfair royalty payment systems, and the oligarchy of the big moguls and labels, there is scarcely room for optimism for independent artists. Especially after it was announced that Warner Music pushed a record contract towards the virtual pop star Noonoouri. Oh, and let us not forget the former chief business officer for Google X, Mo Gawat, using every press opportunity he can to proclaim that the need to regulate AI is beyond an emergency. Elon Musk has even started to express his concerns regarding the advancements of AI, which makes a change from his usual self-serving range of mercenary emotions.

What Does the Noonoouri Record Deal Mean for the Music Industry?

Before you throw in the towel and take all your music gear to the pawn shop, it is worth bearing in mind that it is highly likely the Warner Music Group decided to pull a publicity stunt by signing a virtual act. After all, now Warner can claim they made history with this first-of-its-kind deal.

Warner certainly isn’t the first major company to turn their attention to the virtual ‘icon’. Due to her 403,000 Instagram followers, the viral virtual star has fashion campaigns with Balenciaga and Dior to her name.

So, what’s her deal (aside from the one she has signed with Warner)?

Warner Music's Noonoouri debuts single ft. DJ Alle Farben | WIRED Middle East

In our highly digitalised era, a captivating online presence is more valuable than gold dust. Knowing this, the Munich-based graphic designer Joerg Zuber developed the CGI icon, who made her first appearance in 2018. To make her feel a little more organic, Zuber introduced her as a 19-year-old before she made strides in the fashion and music world.

Her first single, Dominoes, was created with Alle Farben, a German DJ, who worked his beats around her generative AI-rendered voice. After the official music video premiered on August 31, it has racked up 94k streams to date. To give us a little hope for humanity, there were ample criticisms of the single in the derivatively generic hit in the comments section:

“YOU HAVE A HIDDEN TALENT, KEEP IT HIDDEN.”

“This slaps… any joy out of my head I had left in life.”

“THIS GOES HARD, ON MUTE.”

“Finally, artificial intelligence is making strides in bad pop music.”

So, no matter how “ground-breaking” the move was, it certainly isn’t something that talented artists should be shaking in their boots over. Major labels are hardly renowned for keeping their fingers on the right pulses. It was only a matter of time before such a deal was struck, but after noting the public perception of the single and what the musos or making of it, Warner has notably made themselves a laughingstock.

A New Era of Entertainment is Here, But Noonoouri Isn’t a Trailblazer in It

While some attempted to coin Noonoouri as the icon of a new era, that rings true as much as a disconnected doorbell.

Yes, entertainment and art are no longer bound to the physical realm, and metaverses are becoming increasingly popular amongst younger generations that need to be reminded to unplug themselves from the internet and touch grass. But the demand for living and breathing musicians isn’t going anywhere soon.

After hearing how dross the Noonoouri debut single was, does it really matter if she can switch between different personas, styles, and genres with ease? Or if she can perform in different languages and diverse virtual environments? Absolutely fucking not.

AI in Muisc Production: Technology and Tools | 2023

In previous blogs, we have illustrated how AI has been integral to the music industry for decades, from algorithms which put your new favourite singles in front of you to tools artists can use to make the task of production, mixing, and mastering a little less laborious. As a tool, is highly valuable with great utility. Unless things get dystopic real quick, this generation of artists shouldn’t lose sleep over the threat of AI obsoletion.

Sure, some programs can now synthesise music based on vibe and genre prompts. But even with the availability of such technology, most figureheads in the music industry are still scouting for real talent. Metaverse-based influencers (I felt a little sick even writing that phrase, let alone taking them seriously) may have some swing amongst the people who are looking for the next vapid entity to follow devoutly and part with their hard-earned cash on everything they promote. But thankfully, for now, most people are still connected to the real world and common sense.

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Stay up to date with all the latest music industry updates by following our weekly blog. Or use our heavily frequented platform to promote your new music. Unlike Warner, we always favour organic talent over virtual artists producing synthesised and soulless singles!

Article by Amelia Vandergast

What Happened to Music NFTs?

Posted on 3 September 2023
Music NFTs

It was only last year when Pitchfork published an article on how NFTs are shaping the way music sounds, and Rolling Stone pegged them as the ultimate way for artists at all levels to monetise their music, so what happened to music NFTs? How many NFT holders have as much buyer’s regret as Justin Bieber after he purchased a Bored Ape NFT for $1.3 million back in 2022, only for it to lose 95% of its value? And perhaps, most importantly, will they ever make a comeback?

In this article, we will answer all the above questions to give independent artists and music fans looking to support the careers of their favourite artists a no-bullshit account of where the NFT market currently stands. But first, we will give a brief introduction to music NFTs, which work a little differently from your standard NFT.

What is a Music NFT?

In short, music non-fungible tokens (NFTs) are distinct digital assets that are issued on a blockchain (a distributed ledger that contains a growing list of records, referred to as blocks), which are tied to a single, EP, album, entire discography, or video clip. NFTs can also represent everything from gig tickets to passes to money can’t buy virtual experiences to exclusive merc.

The hype around Music NFTs started to amass due to the unfairness of the distribution of wealth in the music industry. In 2023, the global revenue of the music industry is expected to surpass $65 billion, but the vast majority of those funds will pour into the pockets of major labels and platforms instead of the cups of songwriters and musicians.

The pipedream of an idea was that music fans could replace the oligarch record labels, and more direct connections could be created between independent artists and their fans. Unfortunately, as you can probably gather from the radio silence on the subject of music NFTs, the revolution was a lie.

Where Did Music NFTs Go Wrong?

With Music NFTs came the promise of an income revolution, and we have to admit to getting swept up in it originally. When Justin Blau and Justin Ross founded the music NFT marketplace, Royal, gave NFT owners’ rights to the songs sold on the platform and enabled artists to decide the percentage of royalties, we were stoked to anticipate the financial opportunities for independent artists and the profiteering middlemen cut out of the royalty equation. Here are just a few reasons why NFTs couldn’t help the average independent musician.

  1. Crypto Volatility

The value of the cryptocurrencies used to purchase NFTs is volatile. The most popular cryptocurrency used to purchase NFTs is Ethereum, while it isn’t completely impossible to buy NFTs with fiat currencies by using credit and debit cards, the vast majority of NFT marketplaces require you to hold cryptocurrencies. For example, at its peak in November 2021, 1 Ethereum token was valued at over £3k. By January 2022, its value almost halved and at the time of writing, 1 Ethereum token is worth £1297.57. Holding crypto is a great way to see your life savings wiped out overnight. Regardless of what the crypto bros say.

Ethereum Price Prediction 2023: When Will The Bear Market End? Watch This Key Pattern - Bitcoinsensus

  1. The Inaccessibility of the Web3 World

Unless you only go to see house DJs perform and buy tickets to grime gigs, you will have probably noticed that the average music fan tends to be in an older demographic. Many indie, rock, punk and metal fanbases are ageing populations, and can you really see the average Gen X or boomer music fan getting to grips with the Web3 world of cryptocurrencies and NFTs so they can support their favourite artists?

The ’50 Quid Bloke’ is used to heading down to their favourite record store or affixing themselves to eBay every Sunday evening to pick up tangible wares they can use in music-centric rituals. They are also the most likely to have a negative reaction to the introduction of new technology that they can’t quite wrap their heads around and break into a “back in my day diatribe”. In 2023, YouGov and Consensys discovered that only 34% of the people they surveyed had ever heard of an NFT. But apparently, Gen Z is dumb because they don’t know how we used to burn CDs on our PCs or how cassette tapes used to function.

WHEN MUSIC wasn't "In The Cloud" - Audiophile News & Music Review

  1. Only the Richer are Getting Richer

In 2022, a survey discovered that most NFT buyers invest in NFTs to make money. However, almost the same percentage lose money. Only 14.7% were interested in investing in a community, and even fewer respondents reported that they bought NFTs just to own a digital asset. So, the fans are operating at a loss, but what about independent musicians who are already scratching a living and stretching their resources thin to monetise their music? Yeah, they’re screwed too.

Grimes may have been able to make more money than she has ever made in her career via NFTs, but she has also spent years integrating herself into the type of communities that would be interested in NFTs. She’s digitalising everything, and if her latest single, I Wanna Be Software, is anything to go by, that is still not enough to sate her digital desires.

The Takeaway

Unless, as an independent artist, you have time to indoctrinate yourself into the Web3 world and you are already backed by a hardcore community of fans who are likely to engage in that world with you, it is unlikely that music NFTs are going to come along and save your career. The only musicians making millions are the musicians who were making millions (or near to that mark) before NFTs became a massive phenomenon.

With that being said, there is something to learn from the rise and fall of music NFTs; community and fan power are everything. There are other ways to enable your fans to back you. Take Kickstarter campaigns to fund new albums, and platforms such as Patreon as the perfect example. Learn more about how to harness the power of your fans here.

Article by Amelia Vandergast

A Statistical Overview of the Crushing Blow of Brexit on the Music Industry

Posted on 27 August 2023
Brexit

Earlier this week, the Independent Society of Musicians (ISM) revealed just how detrimental Brexit has been to the income and careers of touring musicians in the UK. While everyone who was in their right mind, when they strolled down to the polling station, knew that our ability to move and work freely throughout Europe would be infringed by voting to leave, the results of the recent survey illustrate how many livelihoods have been dilapidated by the dream of nationalism.

The cultural impact of Brexit may be a drop in the ocean when you consider the exacerbation in the cost-of-living crisis and the obscene levels of inflation that reached a 45-year high and plunged previously comfortable families into poverty. But the recently published figures are enough to make you feel claustrophobic about the prospect of being trapped on a late-stage capitalism island intent on ostracising itself into global redundancy.

The ISM survey revealed:

  • Since Brexit, one in four industry workers haven’t picked up any work in Europe.
  • Almost 50% of UK industry workers noted a significant downturn in income opportunities in Europe.
  • 39% of industry workers have had to turn down work in Europe due to restrictions imposed by Brexit.

While many voters who voted leave like to justify their blindsided democratic decision by blaming the Brexit fallout on other factors, such as the Covid pandemic and Russia’s invasion of Ukraine, the ISM was careful to ensure the data they extrapolated from the survey was accurate. They asked all 400 participants to focus on their experiences between the 1st of January 2021 and April 2023 to ensure that Covid restrictions weren’t the main source of income and employment stagnation.

Unsurprisingly, one of the 400 participants in the ISM survey stated that their working band has folded due to gigs in Europe drying up as they couldn’t make any kind of living solely bumbling around the tiny market in the UK. While there is a romantic notion that artists should suffer for their art, the line has to be drawn somewhere, and that is where we have to take a stand. You can’t blame European companies, bookers, and promoters for not wanting to deal with the red tape of booking UK musicians and industry workers. There are so many grey areas in the legislation, especially revolving around import and export taxation that it isn’t worth the risk or the headache to outsource UK talent.

Is There Light at the End of the Brexit Tunnel?

Even though it is unlikely that the current Government will listen to the pleas for intervention and consider ways they could bring viability back to the prospect of making a living as a professional musician, the demise of our music sector isn’t something that should be taken lying down. Apathy is a cancer. If all we do is lament about the current state of affairs, this generation of artists and industry professionals will suffer just as much as the next, and the next one after that.

Unless artists band together and prove how detrimental the loss of income to the UK’s culture sector is and build on the work of the ISM’s study, it is unlikely that the future of our apparently ‘world-class’ music sector will be high on the agenda for policymakers. Thanks to the good work and the insistence that something has to give, there have been some promising moves, but just like any movement, it needs real momentum to get anywhere. If you’re intent on keeping your ennui on the situation insular, consider yourself as part of the problem.

In April 2023, The Guardian revealed that a highly influential Lords Committee is pushing to remove Brexit barriers for musicians and young people. After six months of research, 72 areas where small changes could result in massive differences for industry workers on both sides of the channel were identified. So, even if re-joining the EU is out of the current realm of possibility, that isn’t to say that we should give up the ghost on cutting some of the red tape. Potential areas to focus on include the expense, accessibility and viability of work permits and visas and the cost and confusion around carnets (customs permits).

The fact that the Trade and Cooperation Agreement that was signed in December 2020 by the UK and the EU did not include any specific provisions on short-term travel for musicians and industry workers should also be taken as a positive.

In 2021, the House of Commons Culture Committee recognised that barriers have blighted the cultural ecosystem and made it needlessly difficult to move equipment and merch. The ISM has made several recommendations to the government to remove some of those barriers, including negotiating a waiver agreement on the 90 / 180-day working rule.

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You can read the full ISM report and discover all the ways they are helping artists navigate Brexit barriers here.

For more independent artist advice, keep your eyes peeled for more independent artist advice articles.

Article by Amelia Vandergast