Pictured (L-R) Tony Grotticelli, Kim Pham, Jeppe Faurfelt, Annie Ortmeier. Photo: Instagram/Music Biz
Universal Music Group Nashville’s VP Marketing and Digital Accounts Annie Ortmeier led a panel on digital advertising Tuesday (May 15) at Music Biz called Flip That S#!t.
“As the industry has shifted from a physical/download medium to streaming, we’ve shifted from a click-rate model to an engagement model,” said Ortmeier. “About two years ago we started to run entirely different campaigns to streaming audiences versus download audiences. We saw a much higher engagement rate with streaming audiences.”
Ortmeier’s team member at UMG, VP Digital Marketing Tony Grotticelli participated with the panel alongside Kim Pham from UMG’s advertising agency Dash Two and Jeppe Faurfelt of Linkfire, which provides extensive insights behind clicks.
Pushing To Playlists
“It’s not, ‘How do we get people to buy,’ it’s, ‘How do we get people to engage,” retorted Pham in reply to Ortmeier observing the click-rate evolution.
“You’re never gonna make your money back [promoting] a song,” said Grotticelli, to which Ortmeier explained. “If you’re releasing one single, we never just push to that three-minute track,” she said. “We always push to a playlist that’s often named for an album or single, but doesn’t stop with one song. It’s about 25+ songs that take the user on a journey.”
Keeping Fresh Data
“With Linkfire, we’ve been playing around with a lot of re-targeting strategies,” said Pham. “Really honing in on current fans. So we track down who views video up to a certain percentage, and practice ad sequencing.”
“If your trying to objective is to drive to streams, follows or playlists, then you should make it as seamless as possible to get there,” said Faurfelt. “One thing we suggest is removing the full video on your landing page.”
Ad Sequencing
Retargeting graphic shows four ad campaigns, retargeted based on audience metrics. Audience 1 targets fans of the artist/related artists and retargets the ‘bounced.’ Audience 2 retargets visitors who previously clicked through to a specific service (Spotify, for instance). Audience 3 had previously shown purchase intent. Audience 4 drives to known fans to buy concert tickets. [CLICK TO ENLARGE]
“One ad does not serve everybody anymore,” said Grotticelli, explaining how various ads are used throughout the promotion process.
“You’re not going to see the same message for six months, you’re gonna see nuances,” noted Ortmeier of ad fatigue. “There’s a balance in how many times you have to be hit with a message before you take an action.”
“We want the consumer to see our ads three times on the same platform, but not more than that,” reported Pham.
“It’s interesting because if you’re selling a ticket, you could move your objective to try to upsell to a VIP experience or sell some merchandise afterwards,” said Faurfelt of ad tailoring.
Perfecting The Process
“When we started [in this industry], people were optimizing for CPC (cost per click), thinking that if you clicked on a link then you were interested,” said Faurfelt “Maybe you just had fat fingers, and that wasn’t the case. It’s really what happens after you click.
“iTunes let’s us measure the impact of the traffic we’re sending there,” he continued of his company, who recently secured a partnership with Pandora to provide data insights. Adding to those third-party sites such also including Ticketmaster.
Grotticelli similarly praised Google/YouTube, Spotify and socials like Facebook, for the availability of that data. “If we get more data from your company that our ads work, we will serve more ads to you,” he declared.
“But we have touring data, merchandising data, streaming data, download data, how do you combine all those in to one dashboard,” asked Faurfelt of fragmentation challenges. “Or you have to think about the bounce rate. It may be that it’s not the right time for the fan to engage,” he continued. “You don’t want to shove things down [a superfan’s] throat because they’re going to find your content anyway, or at a different time. So success lies in interpreting all those signals that you can’t track all the time.”
“To be honest, we can’t put together a perfect ROI on streaming advertising just yet,” admitted Ortmeier, of all those struggles.
“We’re so fragmented,” Grotticelli concurred, citing the wide availability of digital music today. “But you’re talking about a label [UMG] that sold a ton of physical product with George Strait and Alan Jackson exclusives. It’s about taking a wholistic approach to marketing. By itself, in a silo, I don’t think any of this works—digital, traditional, billboard. But if I served you an ad and you saw a billboard, maybe there’s a chance you’d engage in the playlist.
Email and SMS
“Email is still very valuable,” said Ortmeier. “We can also advertise against or exclude people that are already on your list.
“We actually have a text that goes out every Friday with new playlists and the growth has been great, and unsubscribes have been really low,” she continued. “We don’t engage [texts] that often, because you can burn people very quickly. It has to be a very engaged consumer.”
“One of our artists has grown their mobile list larger than their email list,” cited Grotticelli.
Geo Targeting And Tours
“We primarily do geo-targeting with tours,” said Ortmeier. “We’ve done a lead-in saying, ‘Before you go, listen here.’ The engagement was really positive around it—friends were tagged they were going to the show with. Afterwards, we turned around to, ‘Relive your experience and listen again.'”
“[Geo Targeting] has been a really successful model for new artists,” said Grotticelli. “But it’s really venue specific if people are going to buy tickets digitally, or that day.”
“You can also do geo-targeted social posts, so it’s not just limited to ads,” added Pham.
“We’ve studied all Ticketmaster sales and we’ve been able to day-part when sales are made,” she continued. “Facebook and Google search are top drivers, and we found people buy tickets when they’re at work. And people like to buy on desktop.”
Keeping Artist Mystery?
“It all starts with the artist,” said Grotticelli. “We do not move until the artist says. If they want to be in the forefront, it’s up to them. You’ll see Kip Moore talking to his fans, or Keith Urban and his wife that’s super organic. We’re not telling people to break down the third wall—if you want to keep mystery, that’s okay. Sam Hunt’s a great example of that.”
“Artists less engaged socially is where we usually need to do more advertising,” realized Ortmeier. “Because we need to keep them in the conversation.”
“But if I had $1,000, I would say to put $900 into a cool video and $100 to get it out there,” concluded Grotticelli of his belief that quality art will find its way to the consumer.
Stoney’s Rockin’ Country Launches Nashville Satellite Office
/by Jessica NicholsonPictured (L-R): Paul Lowden Jr, Chris Lowden, and Jeff “Toad” Higginbotham. Photo: Jim Shea
Stoney’s Rockin’ Country’s founder, Chris Lowden, announced today that he’s opened a satellite office in Nashville, effective immediately. The new offices are located at 253 Jackson Meadows Drive, Hermitage, Tennessee.
“The opening of a Nashville office is a natural next-step in growing Stoney’s reputation as a friend to country music both on the west coast and in Music City,” says Lowden. “We spend so much time here as it is that opening up shop in town simply makes sense on many levels. In addition to our country-related charitable efforts, such as our annual ACM Party for a Cause Tailgate concerts, we’re constantly dealing with talent and their managers, agents and labels in Nashville so the move will further connect the west coast to the third coast,” he concludes.
Stoney’s Rockin’ Country in Las Vegas is a 19,000-square-foot nightclub with a 2,000-square-foot dance floor, pool tables, mechanical bull riding, and more.
Jim Lauderdale Returns To Yep Roc With Two August Releases
/by Lorie HollabaughJim Lauderdale is releasing two albums simultaneously, Time Flies and Jim Lauderdale And Roland White, August 3 on Yep Roc Records. The two projects are Lauderdale’s 30th and 31st studio albums, and mark his long-awaited return to the Yep Roc roster after a decade.
Jim Lauderdale And Roland White is Lauderdale’s previously unreleased first full-length record, a collection of classic bluegrass recorded in the basement of Earl and Louise Scruggs’ Nashville home in the summer of 1979 and then lost for nearly four decades. Lauderdale was new to town at the time, while White was already a bluegrass legend, known for his mastery of the mandolin and foundation of such iconic groups as The Kentucky Colonels and Country Gazette. The master tapes went missing for 39 years and were only recently rediscovered at the bottom of a box by White’s wife, and the album provides an intimate look into the nascent beginnings of an Americana artist’s vast career.
Time Flies features Lauderdale at his best, writing and performing classic tunes distinctively infused with striking notes of country and soul. The project was produced by Lauderdale and Jay Weaver at Nashville’s Blackbird Studio and House of Blues Studios.
Lauderdale will mark the arrival of both albums with an assortment of upcoming live shows, including headline dates and festival performances such as this Saturday’s Appalachia Rising event at the Carter Family Fold in Hiltons, VA (May 19) and a May 31 show at Nashville’s Station Inn.
11. If the World’s Still Here Tomorrow
JIM LAUDERDALE AND ROLAND WHITE TRACK LISTING:
1. Forgive and Forget
2. Gold and Silver
3. (Stone Must Be The) Walls Built Around Your Heart
4. Six White Horses
5. I Might Take You Back Again
6. Try and Catch the Wind
7. Don’t Laugh
8. Regrets and Mistakes
9. February Snow
10. (That’s What You Get) For Loving Me
11. Gonna Lay Down My Old Guitar
12. Nashville Blues
Home Team Publishing Signs Parker Welling
/by Jessica NicholsonHome Team Publishing, which was founded by Thomas Rhett, his manager Virginia Davis, and his father and fellow songwriter Rhett Akins and Roc Nation in 2017, has signed a worldwide publishing agreement with Nashville native Parker Welling.
Welling is an accomplished singer and songwriter landing nine out of eleven songs on Russell Dickerson’s debut album Yours. In addition to having co-written his anticipated follow-up single “Blue Tacoma,” Welling penned the RIAA certified platinum title track “Yours” the debut single for Dickerson which made a Billboard record-breaking 39-week climb, peaking at a multi-week No. 1 and spending nine weeks in the top five.
“I am so excited to join Home Team Publishing,” said Welling. “When I started looking for a publishing deal, I really wanted a team that includes female leadership, and I wanted an artist/writer involved. I feel like I found what I was looking for times ten! Thomas Rhett, Rhett, and the Home Team feel like family…I feel like I’ve come home.”
Welling joins songwriter Eric Olson signed to Home Team Publishing.
Bonnaroo Celebrates Nashville’s History, Culture With The Ville
/by Lorie HollabaughThe Ville offers festival-goers a chance to experience the lesser-known aspects of Nashville, including an array of music, food, art, apparel, and comedy specifically curated and inspired by Nashville. Fans will be able to enjoy musical pop-up performances and artist appearances along with representatives from Nashville radio stations WRLT, Lightning 100, 102.1, The Ville and The Grand Ole Opry’s flagship, WSM 650 AM. Other highlights include a Saturday morning Open Mic hosted by Okey Dokey; DJ sets, and Late Night Karaoke (Feat. T-Pain). The Grand Ole Opry is also staging its first-ever show from Bonnaroo on Sunday, June 10.
“We are excited to continue to expand our partnership by bringing Nashville’s creative spirit to Bonnaroo with the Ville,” said Butch Spyridon, President and CEO, Nashville CVC. “The Nashville creative scene is exploding, and by sharing a taste of it with Bonnaroovians from all over the world, we hope that we can not only enhance the attendees’ experience at the festival but also entice them to visit Nashville and see the city first-hand.”
Among the experiences available in The Ville will be a showcase of foods beloved and inspired by Nashville including the world famous Prince’s Hot Chicken, Farm to Taco Nashville, and much more. In addition, The Ville Café will feature 8th and Roast selling a small batch “Bonnaroo Blend,” with a portion of all proceeds benefitting the Bonnaroo Works Fund. It will also feature artworks from many of Nashville’s finest new artists, curated and presented by Nashville makerspace and arts collective Fort Houston, pop-up shops from Third Man Records, Nashville-based apparel company Project 615, and, Hip Zipper, Nashville’s Original Vintage Clothing Store, and comedy sets from 5-6pm daily, featuring appearances from Sheng Wang, Martin Urbano, Taylor Tomlinson, Drennon Davis, Jon Gabrus, Shane Torres, Michelle Buteau, and more.
Nominees Revealed For 30th Annual MusicRow Awards
/by Jessica NicholsonMusicRow is pleased to announce the nominees for the 30th Annual MusicRow Awards, Nashville’s longest-running industry trade publication honors.
Download the PDF and see the complete list of nominees.
Subscribed members of MusicRow will receive ballots by email on Friday, May 18. Voting closes on Friday, May 25. The 2018 MusicRow Awards will be presented during a private invitation-only event on Wednesday, June 27. To subscribe and receive your ballot and invitation, click here.
Nominees in all four categories are determined by the MusicRow critics panel. Winners are determined by the publication’s subscribed members. Outside submissions were accepted for the Breakthrough Songwriter and Breakthrough Artist-Writer categories, which honor writers and co-writers who scored their first Top 10 single during the eligibility period (May 1, 2017 to April 30, 2018).
MusicRow will also distribute the Top 10 Album All-Star Musicians Awards at the event, recognizing the studio players who played on the most albums reaching the Top 10 of Billboard‘s Country Album Chart during the eligibility period. Honors will be presented for guitar, bass, drums, fiddle, keyboards, steel, vocals and engineer categories.
Winners will be profiled in MusicRow’s June/July print magazine, which will debut at the June ceremony.
If you do not have a subscription, you may subscribe to receive your ballot and invitation.
Centric Entertainment Opens In Nashville
/by Jessica NicholsonGlobal strategy and marketing services company Centric Entertainment, led by founder/Chairman & CEO Larry Beckwith, has opened in Nashville.
COO Bill Hankins said, “Centric is committed to the idea that each brand is unique and requires an individualized, tailored strategy and consistent messaging to achieve the greatest audience reach.”
Jen Bontusa, VP of Brand Strategy & Advancement said, “We’ve assembled a top-notch team capable of leading marketing and branding campaigns across the spectrum of music, fashion, sports and entertainment.”
Other companies in the Centric family include Align Music Group (led by Abbey Adams) and Centric Screenworks (led by Ally Venable).
For more, visit centricentertainment.com.
UMG’s Annie Ortmeier and Tony Grotticelli Welcome Ad Partners During Music Biz Panel
/by Eric T. ParkerPictured (L-R) Tony Grotticelli, Kim Pham, Jeppe Faurfelt, Annie Ortmeier. Photo: Instagram/Music Biz
Universal Music Group Nashville’s VP Marketing and Digital Accounts Annie Ortmeier led a panel on digital advertising Tuesday (May 15) at Music Biz called Flip That S#!t.
“As the industry has shifted from a physical/download medium to streaming, we’ve shifted from a click-rate model to an engagement model,” said Ortmeier. “About two years ago we started to run entirely different campaigns to streaming audiences versus download audiences. We saw a much higher engagement rate with streaming audiences.”
Ortmeier’s team member at UMG, VP Digital Marketing Tony Grotticelli participated with the panel alongside Kim Pham from UMG’s advertising agency Dash Two and Jeppe Faurfelt of Linkfire, which provides extensive insights behind clicks.
Pushing To Playlists
“It’s not, ‘How do we get people to buy,’ it’s, ‘How do we get people to engage,” retorted Pham in reply to Ortmeier observing the click-rate evolution.
“You’re never gonna make your money back [promoting] a song,” said Grotticelli, to which Ortmeier explained. “If you’re releasing one single, we never just push to that three-minute track,” she said. “We always push to a playlist that’s often named for an album or single, but doesn’t stop with one song. It’s about 25+ songs that take the user on a journey.”
Keeping Fresh Data
“With Linkfire, we’ve been playing around with a lot of re-targeting strategies,” said Pham. “Really honing in on current fans. So we track down who views video up to a certain percentage, and practice ad sequencing.”
“If your trying to objective is to drive to streams, follows or playlists, then you should make it as seamless as possible to get there,” said Faurfelt. “One thing we suggest is removing the full video on your landing page.”
Ad Sequencing
Retargeting graphic shows four ad campaigns, retargeted based on audience metrics. Audience 1 targets fans of the artist/related artists and retargets the ‘bounced.’ Audience 2 retargets visitors who previously clicked through to a specific service (Spotify, for instance). Audience 3 had previously shown purchase intent. Audience 4 drives to known fans to buy concert tickets. [CLICK TO ENLARGE]
“You’re not going to see the same message for six months, you’re gonna see nuances,” noted Ortmeier of ad fatigue. “There’s a balance in how many times you have to be hit with a message before you take an action.”
“We want the consumer to see our ads three times on the same platform, but not more than that,” reported Pham.
“It’s interesting because if you’re selling a ticket, you could move your objective to try to upsell to a VIP experience or sell some merchandise afterwards,” said Faurfelt of ad tailoring.
Perfecting The Process
“When we started [in this industry], people were optimizing for CPC (cost per click), thinking that if you clicked on a link then you were interested,” said Faurfelt “Maybe you just had fat fingers, and that wasn’t the case. It’s really what happens after you click.
“iTunes let’s us measure the impact of the traffic we’re sending there,” he continued of his company, who recently secured a partnership with Pandora to provide data insights. Adding to those third-party sites such also including Ticketmaster.
Grotticelli similarly praised Google/YouTube, Spotify and socials like Facebook, for the availability of that data. “If we get more data from your company that our ads work, we will serve more ads to you,” he declared.
“But we have touring data, merchandising data, streaming data, download data, how do you combine all those in to one dashboard,” asked Faurfelt of fragmentation challenges. “Or you have to think about the bounce rate. It may be that it’s not the right time for the fan to engage,” he continued. “You don’t want to shove things down [a superfan’s] throat because they’re going to find your content anyway, or at a different time. So success lies in interpreting all those signals that you can’t track all the time.”
“To be honest, we can’t put together a perfect ROI on streaming advertising just yet,” admitted Ortmeier, of all those struggles.
“We’re so fragmented,” Grotticelli concurred, citing the wide availability of digital music today. “But you’re talking about a label [UMG] that sold a ton of physical product with George Strait and Alan Jackson exclusives. It’s about taking a wholistic approach to marketing. By itself, in a silo, I don’t think any of this works—digital, traditional, billboard. But if I served you an ad and you saw a billboard, maybe there’s a chance you’d engage in the playlist.
Email and SMS
“Email is still very valuable,” said Ortmeier. “We can also advertise against or exclude people that are already on your list.
“We actually have a text that goes out every Friday with new playlists and the growth has been great, and unsubscribes have been really low,” she continued. “We don’t engage [texts] that often, because you can burn people very quickly. It has to be a very engaged consumer.”
“One of our artists has grown their mobile list larger than their email list,” cited Grotticelli.
Geo Targeting And Tours
“We primarily do geo-targeting with tours,” said Ortmeier. “We’ve done a lead-in saying, ‘Before you go, listen here.’ The engagement was really positive around it—friends were tagged they were going to the show with. Afterwards, we turned around to, ‘Relive your experience and listen again.'”
“[Geo Targeting] has been a really successful model for new artists,” said Grotticelli. “But it’s really venue specific if people are going to buy tickets digitally, or that day.”
“You can also do geo-targeted social posts, so it’s not just limited to ads,” added Pham.
“We’ve studied all Ticketmaster sales and we’ve been able to day-part when sales are made,” she continued. “Facebook and Google search are top drivers, and we found people buy tickets when they’re at work. And people like to buy on desktop.”
Keeping Artist Mystery?
“It all starts with the artist,” said Grotticelli. “We do not move until the artist says. If they want to be in the forefront, it’s up to them. You’ll see Kip Moore talking to his fans, or Keith Urban and his wife that’s super organic. We’re not telling people to break down the third wall—if you want to keep mystery, that’s okay. Sam Hunt’s a great example of that.”
“Artists less engaged socially is where we usually need to do more advertising,” realized Ortmeier. “Because we need to keep them in the conversation.”
“But if I had $1,000, I would say to put $900 into a cool video and $100 to get it out there,” concluded Grotticelli of his belief that quality art will find its way to the consumer.
Songwriters Celebrate 23rd Annual Key West Songwriters Festival
/by Jessica NicholsonFlorida Georgia Line performs on Wednesday night (May 9) at Tree Vibez’ benefit concert supporting Keys Strong Hurricane Relief.
Last week, BMI presented the 23rd Annual Key West Songwriter’s Festival.
Attendees had the chance to check out more than 100 of Nashville’s best songwriters playing free shows at venues across the island.
RaeLynn performs.
On Wednesday, May 9, Tree Vibez Music and Big Loud hosted a benefit concert at the San Carlos Theater to support Keys Strong Hurricane Relief. Tree Vibez Music, a publishing company created by Florida Georgia Line’s Tyler Hubbard and Brian Kelley, curated an evening of music that featured performances from hit making songwriters including RaeLynn, Morgan Wallen, Corey Crowder, Craig Wiseman, and many more. Florida Georgia Line joined in the fun and helped to auction off a signed guitar to raise money to support the rebuilding of the Florida Keys in the wake of Hurricane Irma.
The Saturday night street party, curated by Sony Music Nashville, featured performances from Walker Hayes, Lanco, and Tyler Farr. Newcomers and legendary songwriters alike filled the five days with great songwriting and stories.
Pictured: BMI’s Jody Williams, BMI songwriters Emily Shackleton, Ryan Beaver and Adam James and Bluebird Café’s Erika Wollam Nichols gather for a photo at the Key West Songwriters Festival.
Dolly Parton, Linda Perry, Marcie Allen, Kelli Turner, Janet Weir Speak Out During Music Biz
/by Jessica NicholsonPictured (L-R): John Zarling, EVP, Marketing and New Business, Sony Music Nashville; Caryl Healey Atwood, VP, Sales and Streaming, Sony Music Nashville; Linda Perry; Danny Nozell, CTK Management; Dolly Parton; Darren Stupak, Executive VP/GM Sales, Sony Music Entertainment; Alaina Vehec, Director, Digital Sales and Streaming, Sony Music Nashville; and James Donio, President, Music Business Association prior to the Music’s Leading Ladies Speak Out program at Music Biz 2018 on May 15.
This year’s Music Biz conference is taking place in Nashville, and has welcomed several heavy hitters discussing their careers, including music legend Dolly Parton. The conference’s “Leading Ladies Speak Out” panel has become one of the event’s most highly-anticipated sessions, and 2018 was no exception.
Moderated by Billboard’s Melinda Newman, the session included a discussion about songwriting and collaboration with Dolly Parton and songwriter-producer Linda Perry, who has worked with Adele, Pink, and Christina Aguilera, among others.
Parton and Perry discussed their songwriting collaboration on music for the upcoming movie Dumplin’, which stars Jennifer Aniston. They revealed that the project, which includes six older Parton songs and six new songs, will feature Dolly in vocal collaborations with other female artists, including Sia and Miley Cyrus.
Perry praised Parton’s tireless work ethic and passion for music, which remains vivid after more than five decades in the industry.
“Most singers take days to cut one song,” Perry told Parton. “You cut six songs in one day! People ask me what I’m doing now—I’m not doing sh**, because I don’t wanna work with anyone else.”
Parton commented on her devotion to her career and her dream saying, “People ask ‘how do you work all the time?’ Because I dreamed myself into a corner. Now I have to be responsible for those dreams. And I couldn’t be happier, because every dream I have brings on a new dream, like a tree with deep roots and branches and a lotta leaves.”
Pictured (from left): Melinda Newman of Billboard conducts the Music’s Leading Ladies Speak Out Executive Keynote with Wendy Goldstein of Republic Records and Beka Tischker, manager of Music Biz 2018 Breakthrough Artist Julia Michaels, at Music Biz 2018 on May 15.
The session also featured discussions with several top music industry executives, including MAC Presents founder/president Marcie Allen, Republic Records exec Wendy Goldstein, manager Beka Tischker (Julia Michaels), CAA co-head of International Touring Marlene Tsuchii, SESAC’s Kelli Turner, and manager Janet Weir (Maren Morris).
Goldstein, known for discovering The Roots and signing a then-16-year-old Nickelodeon actress-singer Ariana Grande, discussed the early development process with Grande.
“Nickelodeon back then had a deal with Columbia Records, so every kid back then that was starring in a show automatically had a deal with Columbia. Ariana had a very smart mother, who knew her daughter wanted to be a recording artist more than she wanted to be a TV star. So her mother, very cleverly, had them put in Ariana’s contract that if she didn’t have a song that came out in six months, she was free and clear to walk. Now because she was a co-star on the show, and they couldn’t get the record right for the star of the show, they couldn’t put a record out on Ariana.”
On the suggestion of Monte Lipman, Goldstein visited Ariana and her mother. Grande was soon signed and began a two-year development process.
“We had to stumble on what was going to be her sound. What I learned from hip-hop is that the easiest way to break in is to do something different, and we did. One day it dawned on me that she’s a better R&B singer than she is a pop singer. She’s the new Mariah Carey. We went and made an R&B record. At 16, you are a sponge so the authenticity comes from exposure and learning. I like to think that my taste helped her develop her own taste and she’s taken it and ran with it.”
Goldstein also commented on artists she passed on during her career, including a young Kanye West. “He wasn’t ready yet,” Goldstein recalls of first hearing his music, “and we didn’t have the infrastructure to break him. He needed to have someone like Jay-Z put his arm around him. Part of being a great A&R person is understanding what works at the company you work at, and what we can bring, because one thing I’ve always held true to my heart is that I would never want to sign an artist that we couldn’t deliver for, because there is no greater tragedy in my mind than an artist that never happened because he wasn’t matched to the right situation.”
From left: Music’s Leading Ladies Speak Out presenters and panelists Beka Tischker, manager of Music Biz 2018 Breakthrough Artist Julia Michaels; Janet Weir, manager of Maren Morris at Red Light Management/42 Entertainment; Marlene Tsuchii of CAA; Erin Crawford of Nielsen Music; Wendy Goldstein of Republic Records; Marcie Allen of MAC Presents; Kelli Turner of SESAC; and Melinda Newman of Billboard at Music Biz 2018 on May 15.
As the session comes in the midst of the #metoo movement, and a heightened awareness of female presence in the upper echelons of the music industry, each woman commented on her experiences working in a male-dominated industry. Allen discussed a situation where she had to insist on having a seat at the table (literally).
“We had a meeting and there were about 18 people in the room. There was me and one other female colleague. We realized the meeting had been going on for about 30 minutes before we were told to arrive. There was literally two folding chairs against the wall. So I go and I stand right next to the agent because I closed this multi-million dollar sponsorship deal. I said, ‘I think we are short two chairs,’ and it was one of these moments where you think this is going to go really good or really bad. At that moment, he stood up and told another person to get up and my colleague and I sat at the head of the table. He got the two folding chairs, brought them over, and asked everyone to scoot down.”
“I think it’s important—I don’t like to be that person who talks all the time, that’s not me—but when a point needs to be made and you need to be at the head of the table and front and center, you find a way to get there,” added Turner. “That is something I had to learn over many years.”
“My story involved a mediocre gentleman from another country,” Tsuchii said. “I was the only female in the room. We started the meeting and halfway through, this man looks at me and says, ‘I want some tea.’” She recounted, drawing gasps from audience members. “I called over my assistant, who is male, and he got the tea.”
Weir, who previously managed Sixpence None The Richer and now manages Maren Morris, added, “If I say no to something, [I’ve seen that] person I’m saying no to will try to go to everyone else to convince me to say yes, or try to figure out a way around it. I’m not that frustrated by it because I know I’m the one who will make the decision and my artist has my back—we make these decisions together, but it happens a lot and it surprises me. That is one thing that I don’t know if it that would happen as much to certain male managers.”
Allen reinforced the importance of female industry members supporting each other.
“One woman lifts up another woman, and then another and another and another,” said Allen, who noted that 80 percent of her staff is female. “We need to lead by example and support one another. There are so many other facets of the music industry where that’s not the case — but when we tear each other down, let me tell you, you don’t want to be on that list. You think this room is small? This music business is small, everyone knows everything that’s going on, and women, more so than ever, are all looking out for one another, whether it’s a job opportunity, an artist signing, a branding deal, anything. It’s an unbelievably inspiring time, and I’ve never been prouder than I am right now to be a woman.”
YouTube To Provide Creative Content Credits With New Feature
/by Lorie HollabaughWhen viewers click “Show more”, they will receive more detail about the artists and songwriters and the labels and publishers who represent them, including a link to the Official Artist Channel and official music video when available.
“Music in this video” strives to provide greater recognition and exposure to the people who contribute to the creative process. It also provides more opportunities for artists and songwriters to reach YouTube’s diverse audience, whether those viewers come to the platform for music videos, science experiments or beauty vlogs.
The new “Music in this video” credits on YouTube are made possible due to the data and technology behind Content ID, which allows copyright owners to identify and manage their content on YouTube as well as through YouTube’s partnerships with record labels, music publishers and music rights societies around the world.