Displaying episodes 1 - 30 of 137 in total
Today’s guest is Jacob Fowler, Chief Technology Officer at The Orchard. In four years, Fowler rapidly worked his way up the chain of the music distribution giant from Product Manager to Director of Product to SVP for Engineering and Product and then to his current role as CTO, starting in February 2020. On this episode, we talk with the music industry exec about music tech, mobile apps, and signals that artists and their teams should look out for in their streaming and social media data.
On this episode, we chat with Priya Dewan, VP of South Korea and Southeast Asia at The Orchard and CEO of Gig Life Pro. Priya knows the music markets in Asia inside and out — not to mention the qualities it takes to be a leader in the music industry, no matter what market you’re in.
In the second part of our conversation with Synchtank Founder Joel T. Jordan, the music licensing entrepreneur talks data efficiency and artistic integrity.
Synchtank Founder Joel T. Jordan is a punk rock music entrepreneur now connecting the biggest movies, TV shows and video games through slick tech. Learn about his rise in the world of music synchronization and how artists can make licensing a real part of their career. In Part 1 of this two-part episode, we get into Jordan’s punk beginnings in the business, and weave a narrative through the world of music licensing that translates his punk rock, do-it-yourself ethos into a sector with surprisingly similar DNA: technology.
In light of our exciting new Pandora integration, we chat with Pandora's Dan Wissinger and Jay Troop about why Pandora matters to the music industry and to artists’ careers, how artists can get their music on Pandora, and what strategies you can use to make sense of your Pandora data — whether it's on Next Big Sound, AMP, or Chartmetric.
In honor of the recent Black History Month in the United Kingdom, Warner Music Group's Christine Osazuwa has taken over today’s episode to discuss equality and diversity in the music industry with UK Music's Paulette Long OBE and Ammo Talwar MBE. Aside from her role as Director of Data & Insights, Christine is also a Co-Chair of WMG UK’s Black, Asian, and Minority Ethnic (BAME) employee resource group, The Link. As a Nigerian-American working in the UK music industry, Christine is committed to a diverse and equitable music business and the power that data can bring to any conversation — as are her esteemed guests, both of whom run the UK Music Diversity Taskforce.
We’re back with a Part 2 of our talk with award-winning journalist Cherie Hu, who has been covering the intersection of music, technology and business for over five years. In this section, we get her hot takes on recent headlines involving the geopolitical TikTok debate, virtual singing competitions, and of course, Kanye West. We also visit Cherie’s well-informed crystal ball, and hear some of her predictions over the next few years on Kobalt Music, audio on Amazon and Audible, and songwriting artificial intelligence. Finally, we get into how Cherie has grown her 8K-member newsletter Water & Music and 600+-member Patreon community to support her ability to provide independent insights and cultivate a like-minded community of innovators. Towards the end, you’ll hear a question from one of our newer writers, Michelle Yuen, whose work you can find on our blog at blog.chartmetric.com.
In Part 1 of our conversation with music tech soothsayer Cherie Hu, we go down two futuristic rabbit holes, including what streaming technology will look like in 2040 and what role "fake" artists have in the future of the music business. Plus, we dive into the future impact of gaming and film on music.
Moscow-based K-Pop concert promoter Sophie Chivanova returns to How Music Charts to talk BTS, Fortnite, and the future of concerts in a post-COVID world.
Sophie Chivanova: from Russia with love for K-Pop and concert promotion. The Moscow-based K-Pop concert promoter speaks to How Music Charts about the Russian music industry, why streams don't necessarily translate to ticket sales, and the state of live music in Asia and Europe.
On this episode, we continue our conversation with DFSB Kollective President and Korean music industry expert Bernie Cho, who discusses glocalization, transmedia marketing, a post-TikTok world, and yes, Donald Trump’s Triller account. If you want to get a primer on Bernie’s story, the K-Pop business model, and what exactly a “hot city matrix” is, check out Part 1 of this two-part series.
DFSB Kollective President Bernie Cho has more than 21 years of culture creation in the Asian music, television, and pop culture industries. In this two-part episode of How Music Charts, Bernie pulls the curtain back on K-Pop and the Korean music industry, showing just how successful South Korea's export strategy has been worldwide.
Country, Metal, and TikTok: Digital Trends in the Music Industry With Former Sony Music Nashville VP Ed Rivadavia
Most recently a VP of Digital Strategy at Sony Music Nashville, where he worked with some of the biggest names in Country, Ed has always been — and still is — a metalhead at heart. Ed’s global and multi-genre experience imbues his perspective on digital trends in the music industry with nuance and prescience, and in this episode, we chat with him about Country music, Metal fandom, the future of TikTok, and trends in digital marketing and digital strategy in the music industry.
#iVoted Founder Emily White is taking her world class tour management skills onto the campaign trail, using music and music data to activate voters nationwide. In this episode, Emily talks about the highs and lows of tour management, explains "How to Build a Sustainable Music Career and Collect All Revenue Streams," and describes how music data analytics is helping the 2020 #iVoted initiative activate voters nationwide for the upcoming presidential election.
Will Page, former Chief Economist at Spotify and PRS for Music, discusses world trends in the IFPI Global Music Report 2019, his "Batman" life as a young Scottish government economist by day and Straight No Chaser music journalist by night, what economics have to do with the music industry, his enduring love for Ghanian Highlife, the huge value of music copyright, and how music streaming subscription fees are connected to Blockbuster Video memberships.
“Start small and don’t skip steps” isn’t just an axiom embodied by Diana Gremore’s own career, it’s something she encourages artists and their teams to think about when approaching their own growth trajectories — especially during the uncertainty of live music in a post-COVID world. In this episode, we chat with Paradigm Talent Agency's first-ever Business Intelligence Analyst about creating her own role in the music industry, how artists benefit from brand partnerships, and what the future of live music (and live streaming) looks like after coronavirus.
Call Me Ace is a rapper who draws a unique line through his artistry, music data and the corporate grind. Born to Jamaican émigrés in Bridgeport, Connecticut, in 1989, Ace found himself studying Anthropology at Columbia University in New York City 18 years later. At Columbia, he was the Co-Founder and President of the Columbia University Society of Hip-Hop, but after graduating in 2011, he turned to education, working as an operations analyst at Success Academy Charter Schools in New York City before setting his sights on business school. In 2016, Ace graduated with an MBA from UC Berkeley’s Haas School of Business, releasing his first EP, Misinterpretations, the same year. As he transitioned from consulting at Deloitte to marketing at Facebook, he continued to release more music that explored his creative- and business-minded personas, eventually hitting the Billboard charts with his March 2019 album Airplane Mode. Today, Ace works on the Creator & Artist Development team at YouTube as the Global Program Manager for Music Label Partnerships, and he just released his new EP, Working From Home.
In this episode, we explore artist live streaming on Instagram Live and YouTube Live and how it’s affected social media follower growth for Jill Scott and Erykah Badu (Verzuz), Tory Lanez (Quarantine Radio) and Ty Dolla $ign, Metallica (Metallica Mondays) and Iron Maiden, H.E.R. (Girls With Guitars) and SZA, Diplo (Corona World Tour) and DJ Snake, and Charli XCX and Miley Cyrus (Bright Minded) during the coronavirus pandemic. Follow along with the original article at blog.chartmetric.com.
We analyzed YouTube viewership trends in six different countries (S. Korea, India, USA, S. Africa, Brazil and Italy) to help you understand how music consumption may or may not be changing during the global spread of coronavirus. Follow along with the original article at blog.chartmetric.com.
Rap and Hip-Hop wunderkind Ben Sauberman has put together a list that many artists, artist managers, and A&Rs only dream of. Blending data with creativity, Ben has mapped out the regional YouTube video curators who blow up local Hip-Hop scenes, thrust burgeoning rappers into the national limelight, and help give a region its "sound." From type beats to drill and trap to gangster rap and emo rap, Ben is here to school us on why YouTube channels like Cole Bennett's Lyrical Lemonade are so important for Hip-Hop today.
We analyzed Spotify Monthly Listeners trends across nine genres to help you understand how music consumption may or may not be changing during the global spread of coronavirus. Follow along with the original article at blog.chartmetric.com.
In this episode, we chat with Elliott Althoff, Associate Manager of Digital Strategy at Republic Records, a subsidiary of Universal Music Group. Our conversation touches on everything from the differences between indie and major labels to the creative ways you can use data for marketing campaigns. Hopefully, you glean some important insights from our conversation, but most importantly, we hope we’re making your shelter-in-place just a bit more manageable, whether you’re working from home or not.
For this audible article, we highlight another important music data story that you might have missed, from a January 2020 piece our Data Scientist wrote. It's about the global, industry-wide trend of music collaborations in recent streaming history. As always, if you want to follow along with the charts and visuals, the link to the original blog article is in the show notes. Enjoy "How Music Collaborations Evolved in the Digital Era: A Decade in Review", from our resident Data Scientist here at Chartmetric, Dr. Nuttiiya Seekhao.
We’ve got a special one today, and it wasn’t planned. Our guest is Ariel Chichotky, the Director of Buenos Aires-based Dale Play Records, who are at the forefront of an Argentinian Trap movement that has hit the 2020s running. If you’re thinking this is related to reggaetón, you are sorely mistaken. That genre originated in Puerto Rico and Colombia, and while you see some of its artists participating in trap, trap is its own animal. The American South rap style known for its much harder sound and harsher lyrical content, has, like many of its hip-hop-related cousins, travelled through the Internet to the entire world, and Argentina is now one of its epicenters. Ariel is an experienced Artist Manager, who cut his teeth with Argentinian funk band Suprafonicos, then moved on to managing Argentinian telenovela-star-turned-pop-star, Lali. He then moved on to his current role as Director at Dale Play and finds himself growing the careers of trap artist Duki (whose Sept 2019 hit “Goteo” has amassed 72M YouTube Views and over 120M Spotify streams), trap producer Bizarrap (whose YouTube Music Sessions have amassed over 812M channel views), and soulful, hard-to-define up-and-comer Nicki Nicole (who commands 3.2M Instagram followers). Ariel holds a business degree from the Universidad de Buenos Aires, and was introduced to us by our friend Zack Bolak.
This week, we're diving into Data Scientist Josh Hayes’ comparative analysis of major label vs. non-major label chart performance. Which record labels, major or non-major, had the most chart-topping tracks?
This month, we released our second 6MO report (July-December 2019), doubling down on our ability to find quality artists who are rapidly gaining traction and deserve to be highlighted to industry insiders. New in this edition are TikTok Trending tracks, Bandsintown Tracker gains, and artists who received the most "first-time" playlist adds on streaming platforms in H2 2019.
In this episode we chat with Ross Nicol, founder of Off Season Creative, a boutique Brooklyn-based creative direction agency with a focus in music. Ross has worked with the likes of Teddy Geiger, Lucius, Mom + Pop Music, Real Estate, Whitney, the list goes on…. So our conversation touches on everything he’s learned in the music industry — from the importance of landscape and location, to understanding the artist mindset, to the indie/major divide (or lack thereof), and how data is more useful on the strategic managerial end than on the discovery and conceptual end. Of course, one of the really important byproducts of the digitization of the music industry is just how much data can actually help empower artists to take control of their own careers. And Ross has been helping artists do just that, drawing on his extensive knowledge and experience with management, marketing, creative direction, and design. Originally from San Diego, Ross went to school in Nashville and eventually migrated even further east to New York City. After a long bout at a major NYC artist management firm, Ross decided to go indie himself, launching Off Season Creative, a company that takes “a holistic and strategic approach in defining and developing an artist’s creative direction through design, photography, and typography.”
From 2012 to 2019, Jackson Bull (Twitter: @jacksonabull) was with SiriusXM, moving up the ranks from Board Engineer to Program Director and working with many of the company’s over 1K stations. Before that, he worked in various capacities in social media and film editing, and was a DJ at his university’s station, WMUH Allentown Radio. He interned at several industry publications as well, and most recently, has made the glorious return to school to train in data science at Flatiron School in NYC. Check out our discussion on his live radio grind, how music data helped him bring more ammo to music programming meetings, and how the SiriusXM/Pandora acquisition has created a whole new data world for a data scientist to thrive in.
An American now based in London, Christine Osazuwa (Twitter: @c_osazuwa) is currently a Senior Data Analyst for a major label, in charge of the Europe, Middle East, and Africa regions. Before that, Christine worked her way up the ranks to become the Head of Insights & Data Analytics at another major label, this time based in Stockholm. Christine earned her Bachelor’s in Music Business and Journalism at the University of Maryland, Baltimore County, her MBA from Loyola College in Maryland, and she holds certificates in data science, predictive analytics, and information technology. Lest you think Christine is just about business and numbers, she’s also product managed in the online ticketing space, served on music street teams, and was president of a local music magazine in the Baltimore area. Our talk with Christine runs about 45 minutes and touches upon her thoughts regarding how TikTok isn’t just for kids, how she isn't a fan of AI making new music, how clarifying your goals can take your music to the next level, and more.
Season 2 Premiere! Don't worry, it's just your co-hosts. Kind of like looking at your Uber driver's profile. Bit of a prologue, really. Our guests will be much cooler! .... chartmetric.com @chartmetric #howmusiccharts #chartmetric #musicindustry #musicbusiness #musicnews