There are major shifts waiting to happen this year in how we consume music. 2013 is likely to see the expansion of trends from last year – the shift towards streaming, the rise of social television, and increasing use of video content online.
But the impact of all of these factors means the shape of the digital music landscape will dramatically change before the year is out. Will personal music collections be entirely displaced by portable libraries? Will crowd-funding become a standard procedure for tours? We consider these possibilities and more in a roundup of this year’s expected trends.
Ownership versus accessibility
This year sees big developments in the streaming subscription market with the arrival of Google, Microsoft and Apple’s new loan services. They are all keen to take on the growing might of Spotify, which has so far managed to take the largest share of the market via its partnership with Facebook. Owning music could become secondary to portability and accessibility across multiple devices. Arguably, ownership might even be seen as a burden given syncing and copyright issues.
What does this mean for musicians, given the negligible rates given by streaming services? Last year, Damon Krukowski of Galaxie 500 highlighted how 680,462 plays of his record ‘Tugboat’ (above) garnered only a soul-destroying $9.99. It’s unlikely the margins will grow – though some might argue a bigger market with more competitors will create more revenue for everyone. However, it could also make it harder for musicians to claim fees as companies compete to keep subscription charges low. Pandora is currently contesting the fee paid out to the American Society of Composers, Authors and Publishers for digital radio plays of artists. It is likely only the biggest artists will benefit from keeping their music away from streaming services – as shown by the high sales enjoyed by Adele and Coldplay.
It’ll be interesting to see how many major musicians make their music available and the correlation between sales and their music’s availability on the streaming services. Either way, the year will mark the decisive break with the ownership culture as the biggest technology creators become effectively lending libraries of content.
The first ever fully-sponsored album?
Here on BAMM we’ve previously discussed the increasingly close relationship between brands and bands. Even the most credible of musicians have lent themselves to one-off projects by companies. One of the weirdest collaborations this year has been ‘Gatwick: The Departure Lounge Sessions’, which featured a 30-minute track by Benga which corresponded to the 30-minute journey between Gatwick and London Victoria.
Could we see an extension of that trend so that musicians end up writing whole entire albums themed or inspired by brands? What’s certain is that it’s not just the obvious suspects who would be up for doing product placement. At the moment, it may be musicians who are getting the best end of the deal. Working with brands guarantees a payout at a time when sales are so low. Brands are also stepping in to nurture and develop musicians from the outset, creating long-term relationships in order to tap into younger audiences. Conversely, consumers may take to personalising brands in ways that make image control near-obsolete. Given the power of social media and Facebook, even the coolest brands may have to roll with the punches.
The return of MySpace
MySpace’s acknowledged strengths were always its music sharing and DIY aspects. For many bands, trying to cut out the noise of Facebook activity to get a few ‘likes’ is too difficult. New MySpace has had mixed reviews but its music functionality is better than ever. The new site (as trailed below) is clearly aimed at a younger ‘creative’ demographic – which is ideal for bands who want to take a hands-on approach to their promotion.
Focusing on sound
The rise of the visual is unquestionable – we have ever bigger screens on all our devices to accommodate more video content and visual information. But sound-only platforms have a role to play. Soundcloud has enjoyed its biggest year yet with more exclusives and streaming from performers like Snoop Dogg and 50 Cent. One of the major appeals for musicians is the convenience of uploading a track, without the faff of a big launch or shoot. Given low marketing budgets, more musicians could start using sound-only platforms to reach out directly to fans and reward them with special cuts and additional work.
More ethical models
The fightback has begun already. BAMM leads on the way on this trend, giving artists a fair rate for their tracks. Some sites such as Bandcamp are giving bands the chance to sell their music and merchandise directly to fans, taking a much smaller cut of the proceeds than sites such as iTunes.
Digital radio and personalised radio
BAMM was in on this early with its Open Thread radio. The internet has breathed new life into the radio medium. The trend will explode in 2013 with the development of multiple streams, podcasts, and local digital radio stations redefining the relationship between the global and the local. Radio is also relatively low-tech, opening it up to more DIY producers and labels. Personalised radio will continue to grow, but there should be platforms designed entirely for sharing carefully compiled and curated tracks with friends.
While platforms like Pandora and Last FM are dominated by more hardcore fans of music, sites such as Turntable FM (above) which combine gaming and social networking could bring together new audiences. In short, personalised radio platforms could appeal to the entire music-buying community, by offering the chance to discover and customise in easy ways.
More sophisticated music discovery and curation
Music discovery apps, including BAMMs, will become ever more complex and vital to get through the sheer volume of material online. The FOMO (fear of missing out) syndrome is the web’s newest disease, and the best way to tackle it is to call in the curators. Music discovery apps will not only select the best material, they will also order it for you, so that you don’t have to wade through numerous disorganised links.
Apps will have to be able to configure music in different ways – for example, adopting mood-based curation as well as genre and decade. They could also take the place of traditional tastemakers such as magazine websites. Expect a lot of morphing between the two formats.
The rise and rise of video
Despite Youtube’s success, few media outlets have really gone for exclusive video. This could change massively in 2013 with predictions from Cisco that video will grow to drive 80 per cent of traffic across the internet. Music will play a major part of this, given that most songs neatly fit the three to four minute limit for a standard online video. Services like XBox Music (below) have also made playing music, watching video and gaming on one device manageable for even the biggest technophobe.
No barriers cosmopolitan music trends
Gangnam Style (below) has become the most popular Youtube video ever uploaded (please let’s not talk about Ai Wei Wei and the Anish Kapoor versions). While Psy has been dismissed as unrepresentative of Korean music or a novelty act, the music has actually seen a wave of interest in non-Western pop.
More specialised crowdfunding
There are already dedicated music crowdfunding platforms, but none which specialise in concert funding yet. Touring is still a tried and trusted way to build up a fanbase. The ideal platform could enable networks of fans to chip in together to bring musicians over, making more bands perform off the traditional tour route.
Outlier trends: The hologram trend
The biggest comeback of 2012 was also the least expected. Tupac appeared at last year’s Coachella, giving rap a genuinely hair-raising edge. The most astonishing thing was that the company Digital Domain Media Group animated the entire performance, rather than pulling it from an archive. Could this be the beginnings of a niche industry, devoted to reanimating and choreographing holograms for old fans and newcomers? You can’t buy charisma but you sure as hell can try to project it.
Tupac (above) was an obvious candidate for revival – in fact, the hologram (when first spoken about) appeared to be a smart joke about the fact that the late rapper sold more after his death than he did before it. The music industry is pretty unconscionable when it comes to making money off the back of its deceased stars, so who knows how far the trend will go?
The deluxe album
The trend for artisan goods shows no sign of abating. Like the similar trend for slow food and slow living, the deluxe album signals leisure time. The box set used to be something to buy the fangirl or fanboy in your life for Christmas. Now almost every physical release aims to be special, limited and good enough to put on your minimalist bookshelves. The physical album has almost become a statement. Beck released his album ‘Song Reader’ as sheet-music only (above) , reminding us that the format is only a vessel for the real work.
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