In the old world this would have been radio airplay success now it is just volume of streams.īecause of the focus on new, streaming-era artists end up with far bigger streaming volumes than older artists that were ‘bigger’ in their respective eras, but an afterthought in the streaming era. The songs that get traction experience a domino effect of successive algorithmic decisions, rapidly pushing songs with buzz to a progressively wider number of playlists and users. The net result is vast amounts of streams spread widely, but also an environment in which hits become megahits. listen to this song more instead of more songs.
This strategic imperative of ‘more of more’ is at direct odds with the objective of any label campaign, which is inherently about ‘more of less’, i.e. With streaming services lacking any meaningful way to differentiate, they are forced to compete on who can deliver their users’ the most new music to drive the most listening. It is in this environment that today’s streaming stars are made. The distinction does not matter for streaming services – they are focused on user acquisition, engagement and retention, but for labels it challenges the very premise of what marketing campaigns are meant to achieve. In streaming environments, lean-back streams are simultaneously radio-like listens and sales. In the old world, repeated radio spins drove awareness and then sales. Like some kind of musical nuclear fusion, it smashes discovery and consumption together to create a chain reaction with explosive implications. Streaming’s impact is both commercial and cultural, in large part because it fuses what used to be retail and radio. UK streaming revenue growth slowed, adding £191 million in 2019 compared to £210 million in 2019.Jimmy Iovine claims Drake and Billie Eilish each have more streams than the entirety of the 1980s.Ellie Goulding’s ‘River’ was the UK Christmas number one despite being an Amazon exclusive.
Three separate articles, on the surface unrelated, when stitched together create the outline of a new streaming narrative that while firmly rooted in recent developments represents an entirely new chapter for the music industry: It does not store any personal data.Less than a week into the new decade and we already have the first indications that the streaming rulebook continues to be rewritten faster than the ink can dry on its last entry. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly.
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