According to a new consumer report, music listeners devour nearly 18 hours of music per week on average — about half of a full-time job.
The International Federation of the Phonographic Industry (IFPI) is the non-profit institution that represents the recording industry worldwide. They recently released their annual music consumption report, noting the 17.8 hours a week consumers listen to music mostly happens in the car. This makes sense when thinking about daily routine commutes back and forth without audio, which sounds like torture.
The report also showed 86 percent of the listeners tested use an on-demand streaming service such as Spotify, Apple Music, or YouTube. Fifty-seven percent of users who pay for these streaming services are between the ages of 16 and 24 years old, suggesting it’s mostly young drivers listening to Spotify, Apple, or YouTube on their commute to school or work.
IFPI CEO Frances Moor says the report “tells the story of how recorded music is woven into the lives of fans around the world. As it becomes increasingly accessible, it continues to be embraced across formats, genres and technologies.”
Dillon Francis recently stopped by the Zach Sang Show on YouTube to talk Wut Wut and what lead him to make a Spanish language album. The relatable Sang has a specialty in crafting discourse in long-form, speaking with Francis for more than an hour about his childhood, Brendon Urie, Gerald, and Nicki Minaj sampling him and Skrillex‘s “Bun Up The Dance.”
Francis discusses how he found the genre so many think he created himself: moombahton. Though he didn’t, he was close to the source. His affinity for Spanish music was made obvious early on, having attended the 2016 Latin Grammy’s with Toy Selectah, met De La Ghetto and El Guincho there who eventually introduced Francis to Arcangel and Bad Bunny off the album.
In an hour-long segment, Sang dives into the weeds, having Francis talking about music production showing his inner nerd. This interview proves to be a truly authentic look into the life of Francis’ current state in music, adding to the list of curated collaborators from the deliberate funny man whose noticeably having a good time.
Now, iOS users can view credits on Spotify’s app. To browse the accreditation associated with a given track, a Spotify listener needs only to press the button with three dots that appears next to the Spotify selection. The user can then scroll down the drop down menu to select “Song Credits” at the very bottom of the list.
While some credits are currently available, some are not; record labels must submit the information in order for it to appear. As Chairman of the European Composer & Songwriter Alliance (ECSA), Alfons Karabuda noted in an Instagram post, publishers, songwriters, and societies will need to collaborate “in the near future” to ensure that the proper credits and, if applicable, corrections surface in conjunction with the production.
Armin van Buuren has allowed fans to hear him “trance it up,” once more for a full 90 minutes after his recent headlining Parookaville set from Sunday, July 22. Armin is all smiles and energy throughout the 90-minute display, wherein he lays down the classics as well as some lesser known remixes of his token tracks. The mix features everything from STANDERWICK‘s bootleg of The Killers‘ “Mr. Brightside” to a three-song mashup of Luke Bond, Loud Luxury, and Exis.
The State Of Trance radio host is wasting little time this summer, as he made his way to Germany for the performance just one day after headlining the legendary Tomorrowland in Belgium — where he will return for weekend two, Saturday, July 28.
Online video conference VidCon descended upon Anaheim, California from June 20-23, bringing with it a thrilling set of announcements to communities like YouTube.
Perhaps one of the biggest pieces of news to come out of the event is the introduction of YouTube Premieres, revealed during a keynote address from YouTube Chief Product Officer Neal Mohan.
YouTube Premieres will allow creators with a substantial following to introduce pre-recorded videos as a live moment. When viewers show up to watch the premiere, the creator will be able to interact with them in a live chat while they watch the video.
“When creators choose to release a Premiere, we’ll automatically create a public landing page to build anticipation and hype up new content,” Mohan says of the new feature. “It’s as if a creator’s entire community is in one theatre together watching their latest upload.”
It was also disclosed that YouTube Premieres will only be open to users with at least 100,000 subscribers who are part of the YouTube Partner Program. The new feature will roll out over the next few weeks and is already being tested by select YouTubers who chosen as beta test partners.
Instagram announced they will allow users to upload videos up to an hour long, a significant increase from previous one-minute limit. The Facebook-owned social media platform looks to compete with the media megalodon, YouTube, owned by Google.
These videos will be housed on IGTV, currently accessible in the top-right hand corner of the Instagram homescreen on mobile. IGTV is also available as a stand-along app on iOS and Android, featuring the most popular videos from internet celebrities.
CEO Kevin Systrom mentioned that it’s time for video to evolve and move forward. On the new platform, anyone can be a curator, not just celebrities. Currently, new and smaller accounts will not be able to upload hour-long videos. Users have the option to scroll through recommended videos, popular videos, curators they’re following, and continue watching previously started videos. Curators also have the option to add links in the descriptions of their videos to drive traffic elsewhere.
There are no ads on IGTV…yet. Instagram also isn’t paying it’s curators, unlike its parent company’s failed Facebook Watch video hub. With over 1 billion users on Instagram, IGTV certainly has leg to stand on. eMarketer predicted Instagram will earn $5.48 billion in U.S. ad revenue, without IGTV.
As younger generations are cutting the chord and looking towards various mediums to consume content, Instagram now has an opportunity to take over TV on mobile.
YouTube powerhouses Proximity and Trap Nation have teamed up for a second release from mysterious new act SAMAHTA titled “Graffiti.” The budding labels have joined forces under a new force, “Proxnation,” which may signal the start of a more formal collaboration between the outlets. “Graffiti” features US indie pop vocalist Melody Federer, who has also collaborated with acts like Plastik Funk and Telykast.
Not much is known about SAMAHTA, other than that they are looking to make something of a cultural statement with their work. Their press release reads, “Dark times lead society to dark places and we are the light. SAMAHTA gives a voice to the voiceless, a face to the unknown, and arms the masses with change.”
How exactly the group seeks to ignite that change is yet to be seen, though the themes of the first two releases, “Secret Weapon” and “Graffiti” both conjure up associations with resistance and anti-establishment. The message is certainly a timely one; time will tell how effective the group can be in igniting a movement.
As of May 16, YouTube will take additional measures to provide song credit information for more than half a billion of the music videos that are currently available on YouTube’s website.
Entitled “music in this video,” the new feature will be located below the “show more” area underneath a given music video, and will identify all of the contributing artists, from the songwriters to the labels and publishers who represent said songwriters. The information will appear under music that is uploaded to official artist channels, as well as under the YouTube user content that uses recorded music.
Photo Credit: The Verge
“Music in this video” will provide the crediting insight that has long remained inaccessible on YouTube and on other online streaming outlets. The topic of crediting recalls YouTube’s 2016 settlement with the National Music Publishers Association. Reported to have sat somewhere between $30 and $40 million, the settlement paid royalties to the songwriters who did not receive appropriate accreditation on YouTube.
A general lack of credit related information for music is primarily responsible for most of the previous and existing instances of such music accreditation issues, but increasing correspondence between online streaming services, record labels, and music publishers has helped to combat this problem. John Mayer, for instance, followed the release of his recent single, “New Light,” with a full list of song credits for the track, uploaded to his Instagram account. “Digital music shouldn’t kill credits. Here’s what the back of the single would have looked like if it were in your hands,” Mayer wrote.
Mercurial tech baron and founder of Tesla, Elon Musk, is the latest powerful voice to recently speak out on the issue of unequal distribution. The issue is no new struggle in contemporary capitalism, either. The fact of the matter is: when big business is involved, individuals lose out.
But it seems Musk now has a direct stake in the issue considering he’s now dating Canadian singer/songwriter, Grimes. The couple made their first public appearance as a couple at the Met Gala last week in New York City.
The conversation arose over Twitter when Musk was asked about his favorite Grimes song; for which, by the way, he has two:
While the issue of online streaming payouts continues to be a new frontier for the music industry — especially as it converges with tech giants and new platforms who want a piece of the pie — Musk should be commended for bringing the issue into public conversation. At the very least, it is a genuine show of online activism when powerful tech elites raise their voices for unheard, underpaid artistic creatives who often get no say in the matter.
For those who didn’t make it out to the Empire Polo Club this year, Coachella is once again streaming some of its best, most intriguing artists for all to see on their YouTube channel here. Viewers can pick from four different channels.
Coachella Day 1’s streaming schedule — all times EST — is available below: