How brands are getting involved with music in this digital age- Tempemail – Blog – 10 minute

When life feels jolly rotten, music is something people haven’t forgotten. On the power of music in creating connections, a key discussion at Tempemail’s Digital Transformation Festival was how brands are getting involved with music in this digital age.
With the Drum’s associate editor, Sonoo Singh, was Mumford and Sons’ musician and chief exec of Venue Group Ben Lovett. In late 2016, Lovett opened a grassroots venue called Omeara before opening Lafayette, a live venue at Kings Cross. Joining them were Andrew Dougan, head of experiential and global business partners Geometry, and James Clark, chief business officer at Defected Records.
“Music has proven to be the single greatest connector between people for as long as we’ve been a species,” said Lovett. “It’s amazing that we continue to find ways to innovate around that out of a pure want to communicate with one another.”
Where brands come to play in all that, Dougan said that while 10/15 years ago, it would have been seen as an “unnecessary evil” times have now “changed dramatically, where people no longer just tolerate their involvement but actually expect it.”
He explained that brands can actually bring a lot of value to it, as “they have mass audiences, interesting platforms, and the innovation they can bring to it.”
In 2017, a study by AEG and Momentum Worldwide found that 83% of millennials leave with a greater trust for brands that support a live music experience.
One such brand tapping into the live music experience is Doc Martens, which has been collaborating with emerging artists, creators and collectors on a series of experiences and activations. “It’s win-win for brands as they’re giving platforms and exposure and supporting something that fundamentally is very close to people, it’s a core passion point of people,” Dougan continued.
“Music is the ultimate common denominator, is has an ability to connect is far and wide,” said Clark. “At Defected, we have this disco philosophy which means complete accessibility and inclusivity.”
Given a considerable part of Defected Records business comes from events – both club nights and festivals – it has been greatly hit by the coronavirus, which is forcing people to stay indoors. At this point it has cancelled all its events up until May, but the way coronavirus is looking, its events for the rest of the year are not secure.
Adamant that the party must go on, last Friday (20 March) the team at Defected Records hosted a virtual music festival, where house lovers could tune into the live show from Ministry of Sound.
“With the coronavirus suddenly erupting, this need for and music to be a beacon of positivity, to elicit good feeling and positivity and smiles on people’s faces is really important,” explained Clark on the idea. “So we came up with the virtual festival which can be streamed live to people’s screens in lounges and laptops, and iPads and mobiles.”
The owner of two live music venues in London, Mumford & Sons’ Lovett has been thinking up new ways of bringing an audience in virtually.
“It was in our intention to transform Lafayette into a home of beaming out the content,” Lovett divulged. “We put a lot of infrastructure into the venue, as we were building it, to make it a part of a new era of venues that can has the capacity to do what now is an immediate need.”
He said that similarly to Defected Records, the team is looking at ways to try and help artists continue to connect with their audiences. “Were on it, but we haven’t quite managed to get our ducks in a row,” he admitted.
You can watch the full session here on Tempemail’s dedicated Digital Transformation Festival microsite.
Additionally, access the playlist we’ve compiled to help inspire you and entertain you in this time of isolation and uncertainty.

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Ads We Like: Spotify sets up Covid-19 Music Relief to support the arts community- Tempemail – Blog – 10 minute

Spotify is demonstrating its support for the artistic and creative community during the ongoing coronavirus pandemic by launching ‘Spotify Covid-19 Music Relief’.
As the crisis spreads around the world, streaming has proven to be invaluable for connecting creators to their fans as they shelter indoors. However, numerous other sources of revenue have been interrupted or stopped altogether as a result of quarantines and subsequent event cancellations.
The ‘Spotify Covid-19 Music Relief’ program recommends verified organizations that offer financial relief to those in the music community most affected.
The music streaming service has partnered with MusiCares, PRS Foundation and Help Musicians and is looking to adding more partners worldwide. The company will also be making a donation to these organizations and will match donations made via the ‘Spotify Covid-19 Music Relief’ page dollar-for-dollar up to a total Spotify contribution of $10m.
Spotify will also be developing a new tool that will enable artists to fundraise directly from fans. It will give artists on the platform the ability to link out to a verified funding page for themselves, for another artists in need or for a separate initiative of their choice. This feature will be optional for artists to leverage, however, as no changes will be made to profile pages unless the artist chooses to participate, and Spotify will not take a cut of any contributions.

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Spotify launches music relief project to help artists – Finance- Tempemail – Blog – 10 minute

Spotify Technology said on Wednesday it had launched a COVID-19 music relief project to raise funds for musicians as the coronavirus pandemic grounds life to a halt in most countries, while taking a toll on the economy.
The music streaming platform, which has about 124 million paid subscribers, also partnered with non-profit organisations such as MusiCares and Help Musicians, a UK-based charity for musicians, it said in a statement.
Spotify said apart from donating funds to those charities, it would match donations made through the music relief page for up to US$10 million.
Countries across the world have been asking people to stay at home to slow the spread of the coronavirus pandemic, which has killed nearly 19,000 people and infected about 421,000 globally.
The company said it was also working on a separate feature to help musicians raise funds directly from fans either for themselves or for other artists.

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Fewer people are streaming popular music, possibly because of the coronavirus – Blog – 10 minute

In a nutshell: With so many countries and locations in lockdown due to the coronavirus, one would expect to see a rise in music streaming. But it appears that the opposite is happening. Data shows that countries hit hardest by the virus are streaming fewer of Spotify’s most popular songs than usual.
Quartz reports that Italy, which has the second-highest number of infections (41,000+) behind China, has seen its 200 most-streamed Spotify songs fall from 18.3 million streams per day in February 2019 to 14.4 million since the quarantine began. There was a 23 percent drop in top 200 streams on Tuesday, March 17, compared to Tuesday, March 3.

Image credit: Music Business Worldwide
Quartz does note that while the top 200 streams are becoming less popular, it’s possible that overall use could be stable. But the trend is present in other countries, including the UK, France, and Spain, which have all seen streaming numbers for the top 200 songs fall.
It’s the same story in the US, where total Spotify streams for the top 200 songs fell to 77 million on March 17, the lowest for any Tuesday so far in 2020, and nearly 14 million fewer than the previous week.
So, why are the top 200 streams becoming less popular? Quartz writes that the most popular days for streaming are Friday and Saturday when people are likely to go out, which is a rarity for most right now. It’s also possible that the drop in people commuting and going to gyms has contributed to the fall in numbers.
Music Business Worldwide notes that factors other than coronavirus quarantines could be responsible for the declines, including the slowdown of blockbuster new songs being released. It reiterates that even though fewer people are listening to Spotify’s top 200 tracks, it doesn’t mean the other 50 million songs are performing poorly.
Those in lockdown might be streaming popular music less often, but more people are turning to Steam, which broke its concurrent user record last weekend.

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Livestreaming schedule: music, art, literature and events from Australia and beyond | Life and style – Blog – 10 minute

Music
• 21–22 March: Members of the beleaguered live music scene have banded together to create Isol-Aid, a “socially (media) distanced music festival” featuring 74 Australian musicians including Angie McMahon, Julia Jacklin, Stella Donnelly, Alice Skye, Didirri and heaps of others. The two-day festival will run from midday to midnight on Saturdayand Sunday, with artists streaming 20-minute sets from self-isolation live on their Instagram accounts. It’s free but viewers are encouraged to stream or buy merchandise to support artists, and donate to a fundraiser set up by Support Act.
• 21-22 March: Erykah Badu will be performing a bedroom concert with songs chosen by poll – and it only costs a buck to get in. Stay tuned to her Instagram account for details.
• 21 March: Australian garage rockers the Naysayers have announced a “live stream from quarantine” in lieu of the gig they were to play at Melbourne’s Post Office Hotel. They’ll be streaming from one of the band members’ living rooms on Saturday.
• From 27 March: The Melbourne Digital Concert Hall is hoping to start streaming pay-for-play concerts soon, kicking off with an online music festival 27–29 March.
• Ongoing: If classical music is your bag, our UK colleagues have a rolling list of “quarantine soirees” being updated daily. It features information about on-demand opera and archival recordings from some of Europe’s most high-profile performing arts companies and performers, including New York’s Metropolitan Opera, the London Symphony Orchestra and the beloved cellist/activist Yo-Yo Ma.
• Ongoing: After the success of its first foray into livestreaming concerts on Monday night, the Melbourne Symphony Orchestra plans to continue to livestream during the shutdown period. On the schedule are performances of Beethoven and Mendelssohn, Bach and works from its schools program.
• Ongoing: Surry Hills Live was funded by the City of Sydney to create and promote local live gigs in the suburb’s pubs – which have been cancelled, so it has moved the gigs online. Evening shows will be streaming through March.
Theatre and cabaret
• 20-21 March: The Canadian theatre company Theatre Replacement has begun streaming performances of its production Mine – in which a group of gamer/performers aged 11 to 46 enact different mother-son narratives from popular culture, using the video game Minecraft. Streamed performances will take place on Friday and Saturday.
• 23 March: Melbourne’s Arts Centre is closed until 13 April but an upcoming performance of Exposing Edith, a cabaret based around the life – and death – of the French singer Edith Piaf, will be livestreamed from Hamer Hall on Monday at 11am.
Animals
• Ongoing: Zoos Victoria has launched Animal House, a selection of (so fare) four live feeds from its animal enclosures in Melbourne and Werribee zoos. Watch the giraffes munch their way through afternoon, see the penguins get fed (or a naughty seagull steal a pilchard), coo over the sleepy snow leopard cubs or the lions lolling about in the sun.
• Ongoing: For those in the US – or those simply up late at night everywhere else – the Smithsonian national zoo in Washington DC has set up live feeds of its lion enclosure, giant pandas troop, elephants and … naked mole rats. All creatures great and small, etc.

• Ongoing: The most joyful animal live feed on the internet must be Monterey Bay Aquarium’s sea otter cam. Watch the otters frolick and swim about, blissfully free of concerns about coronavirus or global economic meltdown. Look how much fun they’re having!
Visual art
• 1-17 May: Head On photo festival in Sydney will move online, with webinars and online events. The full program will be announced in April.
• Ongoing: The Tempemail Gallery of Victoria has opened its collection and moved its programming online, with virtual tours, online collection galleries, ebooks and activities for children.
Literature
• 9 May: Yarra Valley writers festival in Victoria, Australia, will be livestreamed. Online viewing tickets will go on sale in early April.
• Ongoing: The Australian writer Kirsten Krauth has created the Facebook group Writers Go Forth. Launch. Promote. Party for writers whose publicity tours and in-store events for new-release books have been cancelled. The group is quickly becoming a one-stop shop for authors announcing the details of virtual Q&As and readings through Facebook and Instagram Live.
Other online hubs
• Check the Social Distancing festival for live streams and videos featuring performance art and concerts from all over the world.
• The music industry professional Cherie Hu has created a Virtual Music Events Directory – a round-up of upcoming performances around the world and a guide for musicians and other performing artists who want to take their work online.
• Are you livestreaming in the arts and culture space? This list is a work in progress compiled from Australia. Please send details of your event to Stephanie Convery (email [email protected] with the subject line: CULTURE LIVESTREAM or tweet @gingerandhoney) if you’d like your event added here.

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‘TikTok we need to talk’: Lizzo slams social media app for body shaming | Music- Tempemail – Blog – 10 minute

Lizzo has accused the social media app TikTok of body shaming after it deleted multiple videos of her in a bathing suit.
“TikTok keeps taking down my videos with me in my bathing suits,” she wrote in the clip she posted on TikTok. “But allows other videos with girls in bathing suits. I wonder why? TikTok … we need to talk.” The clip has received over 8m views on TikTok.
The Juice singer has worked hard to combat negative comments and attitudes towards her physical appearance. Last year, Lizzo received a flurry of attacks for wearing an ass-less dress and thong to an NBA game. “Never ever let somebody stop you or shame you from being yourself,” she said in response to the attacks. “This is who I’ve always been. Now everyone’s looking at it, and your criticism can just remain your criticism. Your criticism has no effect on me.”

Lizzo also shrugged off the controversial comments fitness expert Jillian Michaels made on the body-positivity movement surrounding the singer. (“Why are we celebrating her body? Why does it matter? Why aren’t we celebrating her music? ’Cause it isn’t gonna be awesome if she gets diabetes.” Michaels said during a morning news segment.)
TikTok is not the first social media platform Lizzo has taken issue with. Last year, she quit Twitter due to severe bullying and online trolls.
TikTok has come under fire before for its censorship of users’ content. In November, Washington DC officials held hearings over the app censoring political content. And last year, officials at TikTok admitted to censoring offensive content in an effort to curb bullying towards users who are fat, disabled, LGBTQ+, and/or people of color.
Social media platforms have long faced accusations of unfairly censoring women’s bodies, with many women’s rights groups calling the decisions sexist. Instagram has come under fire for heavily deleting photos that feature women’s nipples. The Free the Nipple movement rages on the app – multiple artists and celebrities, including Rihanna, Kim Kardashian, and Chrissy Teigen have challenged the censorship rule with their own buzzed-about, scandalous photos. In 2015, Milk and Honey poet Rupi Kaur gained notoriety for challenging Instagram’s ban on period blood by posting her own.
TikTok did not immediately respond to the Guardian’s request for comment.

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TikTok owner ByteDance launches Resso “social music streaming” app to take on Spotify – Blog – 10 minute

In brief: The music streaming market has a new entry called Resso, courtesy of the same company behind TikTok, which is currently the most popular app among Generation Z. The service is launching in India and Indonesia, but will soon reach other regions where it faces the same problem – a fiercely competitive streaming market.
Back in November, there were reports that ByteDance was looking to take on the likes of Spotify, SoundCloud, and Apple Music with its own music streaming service.
After the meteoric success of TikTok, the company wants to make a splash in another competitive market with Resso, a “social music streaming app.” The new service draws some inspiration from TikTok with its swipe-to-skip interface, and is also focused on social interaction and viral content.
Music starts as soon as you open the app, and users are encouraged to share lyrics and comments, as well as full-length tracks of their favorite songs. The share section is organized in a set of lyrics cards that you can use in your Instagram Stories, and every song has a six-second Vibe video that plays in the background and can be user-generated.

Image credit: TechCrunch
Resso is first launching in India and Indonesia, with a free ad-supported tier and a paid option that costs around $1.35 per month on Android and $1.60 on iOS. For those of you who are on the fence about the paid subscription, there’s a week-long trial so that you can test the premium features.
The most important distinction between the two tiers is the audio bitrate, which is limited to 128Kbps for free users, while paid subscribers can enjoy music at 256Kbps. ByteDance hasn’t given any indication as to how many songs are available, but the company did manage to reach agreements with Sony Music and Warner Music.
TikTok has somewhere to the tune of 200 million users in India, which is why ByteDance chose the country for Resso’s launch. However, the streaming market in India is overcrowded with options like Gaana and JioSaavn, not to mention global players like Apple Music, Spotify, and YouTube Music.
The biggest challenge is that out of 200 million Indian music streaming users, only a small minority can and are willing to pay for it. For example, Gaana has 2 million paid subscribers at an asking price of around $1.40 per month, despite touting 150 million active users.

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An Evening With Whitney review – Houston hologram is ghoulish cash-in | Music – Blog – 10 minute

‘Welcome to Whitney Houston, very much alive,” says the star of the show, except she isn’t Houston. The American singer died aged 48 in 2012, yet has been recreated by a touring hologram. The music business has form in this area. Elvis died in 1977 and has been “in concert, on screen”, for years, backed by original musicians. However, holo-Whitney is something else. It is eerily realistic, give or take its unusually floppy arms, occasionally jerky movements and the fact that it barely moves a foot each way from centre stage. The mouth doesn’t always seem quite in sync with the vocals. Holo-Whitney certainly doesn’t appear to open its mouth wide enough to emit the gigantic whoa-oh-ohs that are supposedly coming out of it.

The hologram doesn’t walk on or off the stage, but appears and disappears, like an astral projection, at one point emerging through the floor. The live band being all but invisible behind lighting screens adds to the sense of smoke and mirrors. There is one admittedly dazzling visual moment, when Whitney dissolves in a blaze of fireworks and is instantly replaced by another in a different costume. For all the technology on display, it’s most remarkable to remember that the phenomenal singing voice used once belonged to an actual human being.

Holo-Whitney and backing dancers. Photograph: Danny Lawson/PA
If you close your eyes it’s possible to bask in that voice and the unadulterated joy of I Wanna Dance With Somebody and How Will I Know. But when you open them, it is deeply unsettling. “Come arrnn Whitney,” someone yells, bizarrely, while the dead star’s impassioned cries of “no matter what they take from me, they can’t take away my dignity” jar awkwardly with the sense of a ghoulish cash in. (Though perhaps not as much cash as intended, given the rows of empty seats.) There’s a flickering chasm where a huge talent and vulnerable person used to be. Far from celebrating Houston, the hologram tour is a reminder of tragedy, and the enormity of what was lost.
• At the O2 Apollo, Manchester, on 28 February. Then touring until 10 March.
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Streaming was responsible for nearly 80 percent of US music revenue in 2019 – Blog – 10 minute

The big picture: Gone are the days of huge MP3 collections. While some no doubt still prefer to maintain personal libraries, data shows that the overwhelming majority of music listeners have traded in their iPods for streaming services that afford instant access to many millions of tracks.
Streaming accounted for nearly 80 percent of American music revenue in 2019 according to the Recording Industry Association of America’s just-released full-year music report.
Overall music revenue in the US grew 13 percent to $11.1 billion last year, the fourth consecutive year of double digit growth. But more impressive was the 20 percent growth of streaming revenue, accounting for $8.8 billion – or 79 percent – of the haul. Breaking it down further, we see that paid subscriptions to on-demand services were responsible for $6.8 billion, up 25 percent year-over-year.
As a whole, Americans streamed some 1.5 trillion songs in 2019. That’s a lot of music.

It’s fascinating to see how much the music industry and listening habits have changed in just one decade. In 2009, streaming accounted for just five percent of the US music industry’s revenue while physical media was responsible for 59 percent of the pie. By 2019, those numbers shifted dramatically.
The RIAA also calls for technology partners to do more to stop stream-ripping and other forms of piracy. “Music is by far the biggest draw to tech platforms, gaining views and listens that generate enormous revenues for distributors, but in many cases this happens without an appropriate share for creators,” said Mitch Glazier, RIAA chairman and CEO.
Masthead credit: Music notes by Jozef Klopacka. Pie chart by RIAA.

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YouTube Music will soon let you upload your own tunes – Blog – 10 minute

What just happened? Google has published a support document outlining how to upload your personal music collection to your YouTube Music library. The functionality doesn’t seem to be active yet but the existence of the document alone suggests the switch could be flipped sooner rather than later.
There are two ways to add music to your account. From your computer, you can simply drag and drop compatible files onto the web player. Optionally, you can click your profile picture and select “upload music.” A progress bar will confirm the upload is taking place and when complete, you’ll get a confirmation message.
Uploads are only possible from a computer and cannot be completed through the YouTube Music mobile app.
Supported file types include MP3, M4A, FLAC, OGG and WMA. Duplicate copies of songs will be removed automatically, we’re told.

Google notes that it could take some time for uploads to show up in your library, even after they have been successfully uploaded. The search giant further highlights the fact that music uploads will not influence your recommendations in YouTube Music and only you will have access to the tracks you upload.
To manage your collection of uploaded tunes, head to library -> songs -> uploads or library -> albums -> uploads.
Google Play Music, as you may know, is on the way out and will eventually be replaced by YouTube Music. The search giant even said it will provide a way to transfer music from one service to the other when the time comes. It’s not happening right this moment, but change is indeed coming.

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