On this episode we hear from musician Blake Morgan about starting the largest grassroots movement in music history. The #IRespectMusic campaign has been supported by creators from David Lowery to David Byrne. Morgan tells us how #IRespectMusic was inspired, why he believes musicians should be paid for their hard work, and how middle class artists have more power than they think.
The rise of streaming has bestowed the music industry with a wealth of data, but how can labels and artists leverage that data to sustain themselves in this brave new world? On this episode, recorded live from Indie-Con in Adelaide, Australia, Portia moderates a panel on streaming and data with Amy Dietz (INGrooves), Henry Compton (The Orchard), Maya Janeska (UNFD), Jane Slingo (Young Strangers), Ben Godding (AWAL/Kobalt), and James Limon (ABC).
The music industry has recently seen its largest sales increase since the days of Napster. Streaming, while still in its infancy has shown that making a fraction of a penny from a lot of listeners could be a long term sustainable model for many. But just as we began to get comfortable, Pandora started a premium streaming service, YouTube is still running the show and Spotify is having to sign new deals (like allowing new releases to be “windowed”). Is this Napster 2.0? Are we going to push music fans back to piracy by handicapping these services? Is streaming going to sustain the industry and the artists that keep them all employed? We discuss in this final panel from Motorco Music Hall in Durham, NC.
Treefort Music Fest is a 5-day music and arts festival in Boise, Idaho. This year’s festival was one of the most successful yet, and bolstered Treefort as a great alternative to SXSW. We headed to Boise to talk with performers and host a panel on the current state of the music industry. Hear the panel with Sharlese Metcalf (KEXP), Jess Caragliano (Terrorbird Media), Zeke Howard (The Brigade) and Karl Hofstetter (Joyful Noise) on this episode.
The idea of large companies collecting information about you for free feels shady, especially when they use that data for profit. Most big tech businesses collect personal information in some fashion, including your favorite streaming services. On one hand, it helps them tailor your playlists and lets artists know who’s listening to them. On the other, data mining can invade listeners’ privacy for profit.
In 2016, the way people are consuming music is changing, but it might not be how you’d expect. Between ad-based and on-demand streaming, digital downloads, vinyl, and yes, CDs and cassettes, there’s huge diversity in the way consumers are accessing music. We talk with three experts, Russ Crupnick (MusicWatch Inc.), Jim Lidestri (BuzzAngle) and Tom Silverman (Tommy Boy Entertainment), to make sense of recent statistics, and to better understand how they affect the music industry’s future.