On Lil Nas X’s “Old Town Road” record-breaking chart success and the propensity of people to discredit the song as not being of good quality:
I am reading social media posts by old people (30yo plus) who assume that consumers care about music quality.
Guess what? They don’t.
We have entire genres of music born out of shitty quality (i.e. mumble rap) and entire genres going extinct as a result of apathy to music quality (i.e. soul).
The youth of today have their own standards for consumption. What matters to youth today is the social aspect of music — that is, how music creates a gateway to a sense of community. This has been going on for some time now, but the rise of social music apps and the growth of the first generation born with cell phones in their hands has exacerbated things.
Music quality need not be measurably “good” against songs we’ve historically deemed good and worthy of chart-topping recognition. For consumption in a streaming and social music era, music needs only to strike a chord with audiences that have the time and incentive to play it on repeat.
Charts, after all, are measurements of popularity and not quality. The latter is too subjective to measure anyway.
Awesome article by Vice on how young singers and rappers are using musical.ly to build fanbases, promote new music, drive engagement and sales, and generate buzz that has led to record deals, radio airplay, and ranking on Billboard charts.
Are any of you using musical.ly as a part of your overall digital strategy? If so how and what results have you seen?
Impressive app sets for a music tech startup:
Musical.ly boasts more than 11 million video uploads per day from more than 120 million users worldwide; 64 percent of the app’s American users fall within the coveted 13–24 demographic, and 75 percent are female. Hoping to capitalize on that audience, Dae Dae debuted a 15-second snippet of “Wat U Mean” on musical.ly in August; to promote it, he hosted an in-app contest challenging listeners to make a music video of themselves performing his signature dance, where he languidly swings his arms in the air to the song’s staccato “Aye” shouts. Since its inception, the challenge has yielded a staggering 153,719 responses, with scores of newly won fans performing their own renditions of the “Aye” dance.
(This article was written by Chandler Coyle and published on The Coyle Report on May 13th, 2015)
You’re an independent artist and are about to release your first album in almost four years. You’ve been running a pre-order on your website, iTunes, and Bandcamp during the weeks leading up to the release. On release day, in addition to making the album available via download stores and streaming services, you decide to give free downloads of the album away via NoiseTrade. Are you crazy? No, you are Josh Garrels and your new album Home just charted on Billboard despite also being available as a free download.
Giving away a new album on the day that it’s first made available has become for me, the ultimate form of ‘release,’” explains Garrels. “I pour my sweat and blood into the work and an album often takes me years to complete, but somehow, making it available for free creates a healthier relationship between myself, the work and the listener. In short, giving away my music over the years has proven to be life-giving practice.
In 2009, I developed and launched Shiekh Music as the music promotion, music retail and artist support arm of leading urban streetwear and apparel retail chain, Shiekh Shoes. Under this new division of the company, I developed several programs to support independent artists and their music.
Some of the programs included the Shiekh Music Artist Program (general support of select independent/unsigned artists), The Shiekh Music Stage Tour (a multi-city concert series featuring independent artists) and the Shiekh Music Mixtape (a collaboration with Power 106 personalities DJ Carisma and Yesi Ortiz).
One of the biggest programs I created and produced was a talent search called Shiekh Music’s Rip The Mic Tour presented by Reebok and sponsored by Hip Hop Weekly, Yo! Promotions and Def Jam Records.