In its year-end wrap, Billboard (12/18/10) proclaims 2010 The Great Pop Boom noting that pop’s percentage of the Top 10 songs on the Hot 100 chart had soared to 74% compared with just 28% in 2005. Popsters such as Lady Gaga, Ke$ha, Justin Bieber and Black Eyed Peas were headline grabbers. Nashville’s Taylor Swift and Lady Antebellum also enjoyed high enough levels of sales, press, airplay and chart positions on the Hot 100 to qualify them as pop sensations, too. One thing the pop acts have in common is their highly evolved communication skills designed to keep them front and center in the public’s mind.
Besides the pop success, it was also a year in which some basic industry assumptions were trampled. The touring industry, thought to be bulletproof, was derailed by the weak economy and digital track sales growth, long touted as the savior of falling album sales, slowed to a crawl.
For example, Live Nation and Ticketmaster merged to become Live Nation Entertainment, but sagging ticket sales and tour cancellations caused its stock to drop 50% from April through mid-August. U.S. digital track sales, according to Nielsen SoundScan set an all time record at 1.172 billion sold, but only increased 1% over 2009. The tracks increase was particularly disappointing when contrasted with total album sales which dipped 12.7%.
Train frontman Pat Monahan told Billboard that radio’s role in exposing pop music is also changing. “My manager has a great baseball analogy,” Monahan says. “He said that radio used to be the starting pitcher, and now it’s the closer. You’d better have all your other stuff dialed in—your online fan base, your touring—if you think radio is going to come together.”
Billboard writer Monica Herrera cleverly offers several explanations for the pop-ularity of music-driven TV show, Glee. “A common explanation for the appeal of Glee is its constant championing of earnestness over cynicism,” she says, “coupled with the fact that the cast consists of diverse, relatively unknown faces. It’s no coincidence that some of the year’s most embraced talents, from Bieber to Susan Boyle to Greyson Chance, have equally wholesome back stories, as viral sensations who constantly stay on message about their remarkable rise to fame. Even the always-costumed Gaga talks often of her pre-fame days, and a quick Google search lets fans see her in full struggling artist glory. Horatio Algers for the YouTube age, these new pop stars are the realization of a dream that perhaps resonates more than ever for a logged-on, recession-addled public.”
Analysis: If pop exploded in 2010, what format will shine in 2011? One thing is sure, the challenges are already stacking up. All formats will face unresolved retail sales, radio and touring issues.
In 2010 radio groups got serious about extending their reach beyond the terrestrial towers and using online strategies such as mobile phone apps and streaming. But pure-play Internet radio alternatives such as Pandora were also stretching. Pandora now claims over 65 million users and during 2011 will interface with Toyota, BMW and Ford automobiles. Free and paid subscription services like Spotify, set to finally launch in the U.S. this year, are also likely to cut into time spent listening to traditional signals. Eventually all Internet channels will find a way to reach into the coveted auto dashboard, where so much of radio listening takes place and terrestrial radio will have to evolve to meet these challenges.
The outlook for retail sales is equally complex. Almost like a self-fulfilling prophecy, as physical sales continue to droop (48 million fewer albums in 2010), retailers respond by shrinking music shelf space. As Nashville marketers grapple with CD format extending ideas such as six or eight track albums, opportunities to enjoy streaming music are growing exponentially. Looming larger each year is the question—Do consumers really need to purchase music anymore? Combine a myriad of channels such as Spotify, Pandora, YouTube, Last.FM, Yahoo and Rhapsody with improved 4G mobile wireless and one gets an on-demand, 24/7, instant-access media world where one is always on the grid.
Pop music may continue to rule in 2011, but all formats are finding that music revenue streams and the pathways along which those dollars flow, are rapidly changing.
Media Consumption Shifts Content Value
/by Sarah SkatesAll kinds of media purchases are on the decline, ranging from CDs and DVDs to video games and movie theater attendance. Another major factor impacting the film business is the popularity of renting movies instead of buying them. But according to the newspaper, the most ominous sign of trouble is that the pay-television industry recently suffered a net loss for the first time in history, signaling that consumers no longer see cable as a necessary expense on par with electricity and water.
“The studios and the content companies have become increasingly aware of the problem, but they seem collectively paralyzed about what to do about it,” Craig Moffett, an analyst with Sanford C. Bernstein & Co., told the Times.
The article goes on to point out that technology is making content cheaper and easier to access, but while there has been an increase in online consumption it hasn’t resulted in a corresponding revenue increase. Some analysts believe this may be a permanent shift in the way fans consume media.
According to the newspaper:
Another major factor is economic conditions, which the paper says is “widening the gulf between the haves and the have-nots.” Those who are being more negatively impacted by the economy are simply spending less on entertainment.
Sounds like Nashville is singing the same tune.
The Producer's Chair Expands; Radio Show Debuts
/by Sarah SkatesThe Producer's Chair
The monthly interview series The Producer’s Chair will begin airing online and on TV. The show from creator/host James Rea is also moving to a new venue.
Beginning with the Friday, January 28 show featuring multi-Grammy winning producer, engineer, mixer, David Z (Prince, Elvis Costello, Lynyrd Skynyrd, Steve Cropper), The Producer’s Chair will be taped for MTSU’s MTTV.
To accommodate a multi-camera shoot, a larger seating capacity and the addition of a house band, the show is moving to Jefferson’s Showcase (1036 Jefferson St., Nashville, TN 37208). Doors open at 5 PM for the free series, and the audience must arrive by 6 PM for a 6:30 PM taping.
Contact James Rea at 615-244-7555 or james@theproducerschair.com.
••••
Affiliates in Arkansas and Ohio are among those signed up to air the program.
For information about getting your music on the show, visit www.nashvillesnewcountry.com. To schedule interviews call the hosts at 615-669-2005.
Aldean's "Party" Goes Platinum
/by Freeman“I just can’t say enough about country music fans and the amount of loyalty they have for their favorite artists,” says Aldean. “To think that a million people already bought this record is hard for me to get my head around. And five million since I started? No way! I am so grateful to them for giving me the opportunity to play music every night.”
Aldean launches his My Kinda Party Tour this Friday (1/21) in Little Rock, AR. The trek currently has 30 dates scheduled and features guests Eric Church and the JaneDear girls.
Hirings At Monarch Publicity, Davis Music Group
/by Sarah SkatesCindy Heath (L) and Heather Conley (R).
Heather Conley has joined Cindy Heath’s Monarch Publicity as Director, Marketing. With the company’s expansion, it will begin offering consumer, third-party marketing and sales support, as well as publicity services.
Conley was previously Marketing Director at Disney’s Lyric Street Records and most recently with Big Machine Label Group.
“Heather is a great creative mind who has overseen and executed marketing campaigns for a number of multi-platinum level acts, including Rascal Flatts, and partnered with companies such as JCPenney, Best Buy, Wal-Mart, Denney’s, and Kraft” explains Heath. “In today’s changing entertainment landscape, it is important we offer our clients a full spectrum of marketing services and Heather is the perfect fit for this role.”
Conley can be reached at heather.conley@monarchpublicity.com or 615-202-5070.
Heath can be reached at cindy.heath@monarchpublicity.com or 615-429-2203.
••••••
Dustin Hensley
Davis Music Group’s GM Gator Michaels announces the hiring of Dustin Hensley as Marketing Assistant, effective immediately.
“As our intern last fall, Dustin impressed all of us at Davis Music Group with his attention to detail, enthusiasm, and willingness to do whatever it takes to get the job done,” says Michaels. “He is a valued addition to DMG and we are thrilled to have him as part of the family.”
Hensley can be reached at dhensley@davismusicgroup.com or at 615-873-1224.
Please note the change in address for Davis Music Group:
1222 16th Ave., Ste. 10, Nashville, TN 37212.
Carter's Chord
/by ProgrammerPlaylistShow Dog-Universal
Sister trio Carter’s Chord (Emily, Joanna, and Becky Robertson) is releasing its new single “A Little Less Comfortable.” The song was written by Emily and Joanna with Phillip White and tells the story of someone longing to return a more exciting, unpredictable time in a relationship.
The music of Carter’s Chord is steeped in tradition. The sisters were born into a musical family– their father was a pianist, producer, string arranger and their mother a singer, who both toured and recorded with Waylon Jennings during the height of the Outlaw movement.
After signing to Toby Keith’s Show Dog-Universal label, Carter’s Chord released the 2008 singles “Young Love” and “Different Breed.” The group has spent the last several months working on a new record with Toby Keith and Mark Wright.
“We’ve been spending the better part of this year in creative mode, living in the studio and immersing ourselves in writing,” says Becky. “We could not be more proud of the music we are turning out. It has been exciting to work in the studio with heavy hitters like Toby Keith and Mark Wright. This is the real Carter’s Chord; it’s the music we’ve always wanted to make.”
[wpaudio url=”https://music-row-website-assets.s3.amazonaws.com/wp-content/uploads/2011/01/10195142/cc-allc.mp3″ text=”Carter’s Chord – A Little Less Comfortable” dl=”0″ autoplay=”1″]
Urban, Kidman Welcome New Daughter
/by Sarah SkatesShe joins two-year-old big sister Sunday Rose.
The proud parents issued the following statement: “Our family is truly blessed, and just so thankful, to have been given the gift of baby Faith Margaret. No words can adequately convey the incredible gratitude that we feel for everyone who was so supportive throughout this process, in particular our gestational carrier.”
Faith Margaret is Urban and Kidman’s biological daughter.
Country Strong Sales Jump
/by adminThe Country Strong soundtrack album has been released for 11 weeks, but now as the movie (released Jan. 7) is jumping into distribution, album sales spiked from about 5,000 units to over 28,000 units in one week—almost half the disc’s total sales of about 71,000 units to date (for week ended 1/9/11).
The soundtrack’s title tune, performed by Paltrow is Top 30 and climbing at country radio. Digital single sales of the track this week popped 130% climbing too over 32,000 downloads. Paltrow, Mcgraw plus Leighton Meester and Garett Hedlund each contribute songs to the soundtrack with Paltrow and Mcgraw duetting on “Me And Tennessee.” Other soundtrack artists include Trace Adkins, Ronnie Dunn, Sara Evans, Faith Hill, Patty Loveless, Hank Williams, Jr., Lee Ann Womack, and Chris Young.
Americana Fundraiser at Blackberry Farm
/by Michelle“Hearing internationally respected poet-troubadours in such a gorgeous setting will really be a once-in-a-lifetime experience,” said Jed Hilly, Executive Director of the Americana Music Association. “We are thrilled to partner with Blackberry Farm and grateful for the support of these amazing artists.”
Blackberry Farm is located in the heart of the Great Smoky Mountains of East Tennessee. This 62-room Relais and Chateaux and Grand Chef property offers fine wines, cuisine, outdoor activities, an Aveda-Destination Spa and a series of annual cooking schools and more.
www.blackberryfarm.com
NBC To Search For "The Voice" In Music City
/by Sarah SkatesInternet rumors abound that Carson Daly is in negotiations to host the show.
Interested contestants can try their luck on January 22, 2011 at Nashville’s S.I.R. Studios (1101 Cherry Ave., Nashville, TN 37203). Details here.
One difference between this new outing and other reality singing competitions is the initial “blind audition.” According to the show’s official web site:
>>In other reality singing show news, no date has been announced for the airing of the Nashville auditions of American Idol. More than 16,000 hopefuls turned out for the July 2010 auditions at the Bridgestone Arena.
Judges Randy Jackson, Steven Tyler and Jennifer Lopez were in town for a second round of try-outs at the Ryman Auditorium in October.
America’s most-watched show in 2010 premieres on its new nights, Wednesday and Thursday, this week.
Pop Shined in 2010, But All Formats Face Changes
/by adminBesides the pop success, it was also a year in which some basic industry assumptions were trampled. The touring industry, thought to be bulletproof, was derailed by the weak economy and digital track sales growth, long touted as the savior of falling album sales, slowed to a crawl.
Train frontman Pat Monahan told Billboard that radio’s role in exposing pop music is also changing. “My manager has a great baseball analogy,” Monahan says. “He said that radio used to be the starting pitcher, and now it’s the closer. You’d better have all your other stuff dialed in—your online fan base, your touring—if you think radio is going to come together.”
Billboard writer Monica Herrera cleverly offers several explanations for the pop-ularity of music-driven TV show, Glee. “A common explanation for the appeal of Glee is its constant championing of earnestness over cynicism,” she says, “coupled with the fact that the cast consists of diverse, relatively unknown faces. It’s no coincidence that some of the year’s most embraced talents, from Bieber to Susan Boyle to Greyson Chance, have equally wholesome back stories, as viral sensations who constantly stay on message about their remarkable rise to fame. Even the always-costumed Gaga talks often of her pre-fame days, and a quick Google search lets fans see her in full struggling artist glory. Horatio Algers for the YouTube age, these new pop stars are the realization of a dream that perhaps resonates more than ever for a logged-on, recession-addled public.”
Analysis: If pop exploded in 2010, what format will shine in 2011? One thing is sure, the challenges are already stacking up. All formats will face unresolved retail sales, radio and touring issues.
In 2010 radio groups got serious about extending their reach beyond the terrestrial towers and using online strategies such as mobile phone apps and streaming. But pure-play Internet radio alternatives such as Pandora were also stretching. Pandora now claims over 65 million users and during 2011 will interface with Toyota, BMW and Ford automobiles. Free and paid subscription services like Spotify, set to finally launch in the U.S. this year, are also likely to cut into time spent listening to traditional signals. Eventually all Internet channels will find a way to reach into the coveted auto dashboard, where so much of radio listening takes place and terrestrial radio will have to evolve to meet these challenges.
The outlook for retail sales is equally complex. Almost like a self-fulfilling prophecy, as physical sales continue to droop (48 million fewer albums in 2010), retailers respond by shrinking music shelf space. As Nashville marketers grapple with CD format extending ideas such as six or eight track albums, opportunities to enjoy streaming music are growing exponentially. Looming larger each year is the question—Do consumers really need to purchase music anymore? Combine a myriad of channels such as Spotify, Pandora, YouTube, Last.FM, Yahoo and Rhapsody with improved 4G mobile wireless and one gets an on-demand, 24/7, instant-access media world where one is always on the grid.
Pop music may continue to rule in 2011, but all formats are finding that music revenue streams and the pathways along which those dollars flow, are rapidly changing.