In the streaming era, music consumption in the United States is expected to increase by 11.3% in 2021, according to MRC data from the 2021 U.S. Year-End Report. At the same time, a growing number of music artists are abandoning record label deals in search of independent ways to own and influence their masters.
The musician also releases new music on platforms like Spotify through independent, non-label distributors, which reportedly will pay artists 20 7 billion in benefits by 2021 (more than any other streaming service). Mentioned and has a record for the highest annual payments.Every retailer in history) has failed to meet their expectations.
For today’s independent artists, tools and access are no longer enough. Roy LaManna, CEO and co-founder of the end-to-end music technology platform Video, says creators are now more focused on engaging their audience by publishing content and getting real-time feedback to optimize their work. Focuses.
Essentially, artists create new models for how music is marketed and consumed. And new money-laundering opportunities, most recently Web 3 (an idea for a new Internet service based on decentralized blockchain) and the sale of NFT, evolving the artist ecosystem, making record labels less relevant.
“We believe that a lot of things scale about the music industry, except for the artists and the people who help guide their careers,” says Lamana. “Devices are just as good as the people they use, so it’s fun to see people. Take advantage of technology to come up with new and creative ways to reach your audience.”
Lamana refers to Russia, a former major label-turned-indie rap artist who ended her deal with Columbia Records in 2020 and immediately released the EP title. چومپ With Black Thought, Busta Rhymes and other stars. Since then, he has consistently released tracks and tested audience response to meet audience expectations.
Taking advantage of social media platforms for real-time feedback, Ross released a song a week and closely monitored which tracks performed well. He even shared an open verse for his song “Handsomemer” on Twitter when the independent rapper Klein responded to the challenge. Since then, Dwight Video has garnered a total of 23.4 million views and nearly three million likes on Twitter, eventually reaching the top spot in all genres and setting a new record for both players.
Independent artists can enjoy a lot of flexibility when not under the big record label regulations. Another similar producer (Kenny West), who was planning to release his latest studio album, Donda 2 With a series of playground listening parties. He then released the album exclusively on Steam Player, or on the audio remix tools and music streaming platform he created last year in partnership with Kano Computing to drop his former studio album, Dunda. Based on live feedback, both personally and online, he was able to edit live tracks, providing the best sound for the target listening environment.
Lamana expects the independent artist movement to accelerate, and so she points out the challenges of preserving inappropriate and unpublished songs performed live. One risk is that remixes and lyrics can be randomly distributed without any version of the song, creating a demand-side platform (DSP).
“Most of these artists are doing business with the speed of technology,” says Lamana. “There are people like Kenny West and Ross who are basically innovating how music is consumed and marketed, and what they’re doing is they’re releasing songs for a change.”
A new generation of independent players is also emerging in times of unpredictable epidemics, which have become an opportunity for creative revival. Earlier this year, NFL star Antonio Brown sang the rap song, “Pet Not the Palace,” which was available on all major steaming platforms. Now his second career as a hip-hop artist has landed him in recording studios like Ye, Young Thug and 42 Dugg.
“Music is a big part of my life. For me, it’s my story and story control is essential for me to find myself,” says Brown.