A Few Insights Into Modern Music Business

 

 

Modern Music Business and Its Traditional Dimension

Today we talk a lot about modern music business and how it differs from the past. This is most often combined with streaming. Streaming has become the word of today, not only economically, but also from the point of view of promotion. The higher the streaming readings, the more often it will be claimed. This is also one of the desired conditions – improve the ratings on playlists and social media forums. Also, to be quoted, readings must support that argument. I like the word claim – it has many meanings in this article. First of all, it is strategically interesting whether the artist or artist management takes a stand on artist’s success or does the artist gives others to make a number on it. The question is what kind of statements you make regarding your career.

The current state gives the artist the opportunity to learn the field, structure their story and interact with public reactions in a way that was previously impossible. Anyone can upload their production to the internet, follow and respond to reactions.

Everything has become more transparent, there is no longer need for record companies or other players in the field to be seen. This, of course, does not mean that these actors are unnecessary. No, it is not the purpose. The purpose is to explain the changed situation, or new opportunities. Earlier, the record company was an enabler, the gateway through which the music was made available to a wider audience. This affected management – the biggest pressure was on contract negotiations. This also influenced the artist’s career plans. The most important operating object was to get a recording contract. The same is still true – albeit somewhat different in content and reservations. The question is now how far the artists can reach their own. The recording company is perceived as being topical at a time when growth is no longer possible by its own means. If we think of it as a purely economic matter.

On the other side – the record company is waiting more and more completed operations. Those who already have some level of fan base and active social media. Such an artist does not have to spend so much time and money. This is not so black and white now, but as management earlier was preparing for contract negotiations, all the time today goes to make artist as attractive as possible for social media visibility and popularity. Record company negotiations are no longer considered topical before they are backed up by those readings.  Another consideration is what kind of weight those readings should be given. For some artists it is good to get recording agreement right from the start of their career, while others benefit from being able to start their own efforts first.

About Search Engines

Streaming success usually requires good playlist positions, we all know that. Let’s think about it a bit from another perspective. Let’s not forget the importance of SEO as it may well have indirect effects that support success.

The role of the artist is to provide the story roots. The root of the story is the thing that cannot be neglected. It is good to note that search engines with their artificial intelligence and algorithms start working on day one. At the time when you start making first statements about your career. When remarkable streaming numbers are a goal today, one dimension is easily overlooked. It is consistency. Search engines ranks hits based on their weight, public reliability, and popularity. If the early career promotion is aggressive, it will probably work on the search engine scales. It is not irrelevant what the search engine first offers. Even though the artist’s website is commonly the first hit, the same laws apply in that regard. What is the first thing your website tells from the artist. If the music or artist is not yet familiar, then the first insights will be created on the basis of these weightings. If the artist’s early promotion has been successful, it may have more weight than newer content here.

Content of the Story

Strategically interesting is whether these contents are to be featured in the future. If the artist’s story mainly reflects the importance of high streaming readings of the importance of finding a record company, the artist will certainly be assessed on how those projects are. It is therefore a very meaningful thing what kind of claims the artist gives at various stages of their career. One good advice is to include at least some kind of narrative reservations in all communications. These can be seized at moments when the story of the artist, for example, start repeating something of the same old pattern. These substantive reservations can be included in keywords and back links for any type of promotion. The more consistently it is, the easier it will be to use in the future. In addition, search engine artificial intelligence may realize the same.

It doesn’t change much when the story is viewed from an economic perspective. Then it is about finding meaning for content. If the artist, music and the story is of interest, active and successful promotions can result in a passive income stream. This is the point where the artist’s activity is of industrial importance. The better the performance the artist achieves or the higher the expected value for the artist, the more likely it is to succeed in the contract negotiations important to the artist.

Hence, the artist’s story contains two main story lines. One is independent of the financial result, the artist’s story, and how it is actually understood. It may be quite possible for the artist and the public to see each other in a completely different way. In this case, the artist’s communication has a collision. The other half of the story focuses on economic essentials, those priorities that have economic significance. These story lines should be in harmony with each other, as well as costume design. When an artist makes an artistic claim or measure, it should take into account its economic impact and vice versa.

To be continued..

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