Category Archives: Business

The Making of a Music Lover

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Happy Birthday Mom and Dad

Today was my parents’ birthday. Yes, they both have the same birthday. So as I was busy writing the traditional birthday post on their Facebook walls this morning, I started thinking about how my parents shaped not only my life (duh), but how they’ve made me so much of who and what I am (a die-hard music lover and artist). I began to really take a moment to remember just how my parents each played a role in my growth not simply as their son, but as someone who is (more or less) forever tied to the world of music. And the more I thought—the more I remembered—the more I really began to see just how much of an impact they had on me in that arena as well. In fact, it’s an impact they continue to have every day.

Induction

I suppose my induction into the world of music took place in my youth, but it really geared up around the time I was 10. That’s when my real education began. It was because of my parents—what they introduced me too was lightyears ahead of most any and everything my peers had in their CD players (yes, we still used those back then). It began, then ramped up—and then I never looked back.

My Dad gave me what I will always refer to as my first Big Five: The Beatles, The Kinks, The Who, The Doors, and Cream. Some people hear The Who’s “Baba O’Riley” and think of CSI: NY; I just think of my Dad. From there, it was just a hop and a skip to Jimi Hendrix, Jefferson Airplane, and Jethro Tull. I vividly remember hearing Cream’s “Sunshine of Your Love” for the very first time; I’d dozed off on the couch when he popped the CD in the player. I heard that Jack Bruce bassline, sat straight up, and said “what is THAT?!”

From Mom I got more of a taste from the ’70s; Led Zeppelin, Queen, Fleetwood Mac…and metal. I actually wouldn’t discover until more than a decade later just how into metal my mom actually was. KISS and Def Leppard were favorites, so I guess it shouldn’t have surprised me when she asked if I’d go see them in concert with her last summer. And so we did.

Me, Mom and my brother Josh at KISS and Def Leppard last summer

My brother Josh, Mom and me at KISS and Def Leppard last summer

“Mom, I’m Gonna Start a Band”

My parents took me to my first concert. And not a Backstreet Boys show either. My parents took some friends and me to The Masquerade in downtown Atlanta (google it, it’s still around and still a popular venue). We saw Bowling for Soup. Don’t laugh; they rocked and kicked ass. In fact, I’ve gone on to see them almost 10 times since then, and more than once my Mom has gone with me.

I’m not sure many parents would even drive their kids down to Masquerade, let alone take their kids to a show there. It’s not exactly PG; Masquerade is a real venue, complete with people full of tattoos, piercings, sweaty, jumping, and rocking out.

Around this time—my 13th birthday—I got a knockoff Fender guitar starter pack. Pretty much the next sentence out of my mouth one morning was, “Mom, I’m gonna start a band.” And I did. My buddy got the same starter set, and we set out to conquer the world. I loved that guitar; I still do. It reminds me of my roots.

My first guitar, and still one of my first loves

My first guitar, and still one of my first loves

New and Different Tastes

My parents are such lovers of music that it was just as valid to them to hear me say I wanted to be a rockstar as saying I might want to be a doctor or lawyer. It was natural, and I believe that because their love of music extended well beyond what they were familiar with, they could understand my obsession with something that spoke so deeply to me.

While other parents continued to find comfort in their Zeppelin and Beatles albums, my parents took a trip with me through my teen-year discoveries; Simple Plan, Sum 41, Yellowcard, My Chemical Romance, and Eve 6 were just as valid and exciting to them as Fleetwood Mac or The Who. In fact, I saw Eve 6 with my Dad just a couple summers ago on their 2013 U.S. tour.

Me and Dad at Eve 6's summer 2013 tour

Me and Dad at Eve 6’s summer 2013 tour (notice I’m wearing one of my Bowling for Soup shirts)

I’m not sure how many other people out there were (are) lucky enough to experience these same dynamics, but I can’t imagine too many. Most probably experienced the brush-off that so many people get. But I was lucky enough to escape that. My parents share my love of music and discovery, and that drives me every day.

Days As a Journalist and DJ

When my rockstar career ended (yes, pause for dramatic effect), I decided my next adventure would be as a music journalist. Actually, I completely fell into music journalism, but that’s a story for another day. And even as I was starting to find my way in that cutthroat industry, guess who was beside me, editing my pieces to make them tighter and better? That’s right, the parents.

And when the journalism turned to DJ-work, there was a desire to push my drive yet again. I’ll never forget the first time I was on the air on my college show in Boston, doing my broadcast with my parents streaming from home in Atlanta. They listened to the whole thing (2 hours worth), and when he called me after, I believe my Dad’s words were, “man that was so fucking cool.”

Me on my show, Underground Takeover

Me on my show, Underground Takeover

I took my Mom out last summer to a little indie show to see a band I’m good friends with. The band, mind you, is a little on the screamo side; not exactly what most people my parents’ age would be interested in listening to. But during the course of the show, what really stuck out to me was when my Mom noted, “wow, they are incredible performers.” That level of appreciation for something so far removed from her own tastes is something that I think makes my Mom so special. Many times, it’s my parents who are the first to hear the new artists I find and give me feedback. They really haven’t steered me wrong yet.

Me and Mom at an alternative/scream concert last summer

Me and Mom at an alternative/scream concert last summer

Music Entrepreneur

And now, as I’ve changed my path yet again, it’s paved and bridged by a mutual respect and insatiable love of music. Many parents wouldn’t understand their kid when they hear the words, “I think I want to be a music entrepreneur.” What does that even mean?! I’m still not totally sure, though I’m figuring it out every day. What I am sure of is that my parents are behind me yet again. They continue to help me navigate, all the while partaking in the amazing music scenes that I’ve become privy to.

So as I sit here on their birthday night, I think about how I’m thankful not only for a good relationship in general, but for a shared love of something that is and has become so important to me. Music is freedom and in it lives a certain amount of respect and love; it’s that respect and love that exacerbates the excitement of sharing new music with one another. It’s what draws us together and creates the paradigm we live in. So when I listen to Cream or The Who, I think of my Dad. And when it’s KISS or Def Leppard on the radio, I think of my Mom. Even when it’s Bowling for Soup I can’t help but think of my first concert with my parents. And I can’t look back at anything I’ve done in this business without thinking of them collectively.

I think that’s a good thing.

Blogging: One Month In—A Retrospective

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Today marks one month since I started blogging every day, and man has it been a long month. Though long doesn’t necessarily mean bad, and in the last few weeks I’ve found myself able to talk about a number of topics that might not have occurred to me otherwise. True, a lot of my posts have been on topics like music and tech that I continually follow, but the desire to write every day has enabled me to streamline my thoughts into a more digestible format.

In the last month, I’ve discussed numerous things in the music and tech space, including:

Yet I’ve found myself able to write about things that otherwise would seem unimportant, had I not had a goal to write every day. I’m not sure writing posts on writer’s block, on singing, art, and on concepts of passion would ever have occurred to me without the goal to produce new material:

Perhaps the most intriguing thing that’s happened though is how my desire to write has only become more engrained in me. I’ve always been a writer—essays, journalism, poetry, and research papers always came fairly easily to me, and even provided a sense of enjoyment most times. But now my writing has taken on a whole new dynamic in my life.

In fact, it mirrors what artists tell me when I ask why they choose the tough path of day jobs and long nights on the road: “I do it because just like I wake up every morning and need to breathe, I need to play music.” And that’s how writing is to me now. I wake up ever morning and need to breathe, and then I need to write.

The Typhoon Keeps Coming for Tidal

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It’s not been an easy couple of weeks for new music service Tidal. A slew of bad press and criticism during and immediately after the service’s launch is continuing to be a thorn in the side of the company’s leadership. So much so that a major restructuring was just announced; things aren’t about to get easier any time soon.

I was first a little skeptical of Tidal during its much-hyped launch, then again when it enjoyed a spate of criticism from mainstream band Mumford & Sons, and most recently when producer Steve Albini piled on to the already bruised service. Things have just been really bad for Tidal since it emerged in the last few weeks. Now it seems that the service itself is intent on rubbing salt in its own wounds.

Business Insider broke the news today (as did other sources like Digital Music News) that Tidal was being strongly shaken up; 25+ people on the Tidal team were being fired to make room for a new direction. Of these, the name that surely drew the most attention was And Chen, the now-former CEO of the service. Maybe it’s just me, but firing your CEO just a couple weeks after your very public launch seems to say a lot about a company’s fortunes, at least in the short-term.

Former Tidal CEO, Andy Chen

Former Tidal CEO, Andy Chen

Chen’s removal will make room for Tidal’s former CEO Peter Tonstad (who was the former CEO of Tidal’s parent company Aspiro Group). In an statement to BI, Tidal commented on the impending change:

TIDAL’s new interim [sic] CEO is Peter Tonstad—a former CEO of parent company Aspiro Group. He has a better understanding of the industry and a clear vision for how the company is looking to change the status quo.

Correct me if I’m wrong, but did Tidal just admit that their now-former CEO—Chen—was basically unqualified for the job? Because that’s essentially what I heard. After all the fanfare that Tidal inundated the press with around its launch, I thought for sure that they at least had a concrete plan to try and accomplish their goals. As critical as I was at the time, I at last figured that their leadership had sufficient experience and vision to make the Tidal brand somewhat competitive for a little while. Clearly that’s not the case.

I was critical of Tidal before because I thought (still think) that they’re attempting to sell a product (service) that essentially is very expensive and not wanted by enough people to offset the expenses to provide it. I was critical because the artists who I saw standing up on stage during the launch don’t need any more money in their pockets, and it came across to me as greed.

Now I’m critical of them because changing your CEO and firing 25+ employees ~20 days after your very public launch is not a good way to start the spring. It shows both a lack of preparation for your business market, and frankly a lack of appreciation for your prospective audience and their thoughts. Actually, you come off as socially tone-deaf.

We’ll see how this progresses, but I must say, I am really not impressed with Tidal’s handling of this entire situation. This is not the way to build trust in an industry that is basically overrun with distrust, and filled with people who are used to getting taken advantage of. This is not a good start; not a good start at all.

Tidal’s Choppy Waves Keep Rolling

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The choppy waves keep on coming for Jay Z’s streaming service Tidal, as today it was hit again with another round of criticism. I myself outlined my thoughts on the Tidal service first in a post when it launched, and then again in a questioning follow-up post earlier this week. This time, though, the critique comes not from disgruntled music streaming fans or competitive services, but from Steve Albini.

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Tidal logo

Tidal logo

For those unfamiliar with Albini, he cut his teeth in the mainstream spotlight producing albums for artists like Pixies and Nirvana, and has become an outspoken critic of many of the streaming services in the last decade. A criticism from Albini can’t be as easily dismissed as it might otherwise be particularly because he has both the industry experience and insider knowledge to call those in the industry on their bullshit.

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Steve Albini; Photo courtesy: Jordi Vidal, 2014

Steve Albini; Photo courtesy: Jordi Vidal, 2014

Albini has been critical of the mainstream music machine even before Kurt Cobain’s death, jumping into the mainstream music business debate in 1993 with his piece entitled The Problem With Music. He’s done the math and lived out many of the results, and so when Albini takes aim at your service, you better realize that other people in the music community will take notice (even if the mainstream isn’t).

In an interview with Vulture.com, Albini used phrases like “little streaming fiefdoms” and the “budget version of Pono” when referring to Tidal. While the latter comment is a critique on the mainstream listener’s ability (or even care) to distinguish between lossless quality and normal mp3 audio quality, the former is almost a little more telling. “Little streaming fiefdoms” is pretty telling in and of itself; it’s dismissive of what Jay Z and company say Tidal is (and purportedly will be), instead asserting that the service is yet another little city-state vying for validation in the greater streaming landscape.

Perhaps the most intriguing thing about this particular thought process is what it means for the dynamic of the current landscape; as Albini (and others) become increasingly critical of services that act like little principalities, the traditional walled-garden approach to music seems to be under siege. And there are those of us who rejoice in that. The walled-garden concept works well in numerous areas of tech and business—it’s great for security, healthcare, and finance. But it is not good for media, and music specifically.

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Criticisms of Tidal on Buzzfeed the day after its launch

Criticisms of Tidal on Buzzfeed the day after its launch

Music is freedom, and needs to be treated as such. To constrain music to the dynamics of a walled-garden system is to take away so much of the actual discovery and freedom that is associated with it in its purest form (though many would argue that there’s still plenty of “discovery” to be had). Regardless of this fact though, it remains an important fact to note that people of Albini’s caliber are taking aim at people like Jay Z and services like Tidal.

One might even argue that they—whether they intend to or not—are clearing the path for new music services yet to be launched. Only time will tell in that regard. For me though, this does not go unnoticed. Anyone interested in the future of the music industry would do well to keep these criticisms catalogued and fresh in mind. It’s precisely by graphing these grievances that we will begin to see how the future of the music industry will unfold.

Passion Isn’t Exhausting—It’s Invigorating

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A couple days ago, I wrote a post about how when things get tough in my line of work, it’s always best to go back to the artists. The artists are where I find my love rekindled again and again, and where I’ve made some of my best friends.

I think, though, that one of the best things I experience in talking to artists every day is the sheer passion that spills through their emails and calls. They are so passionate about their work and the work of their peers that, most days, they can barely contain themselves. Sometimes our conversations consist of us (me and an artist) interrupting each other to ask the other if they’ve heard the latest release from a group we both love.

While some might take this as daunting and exhausting after a certain period of time, the truth is that it never really gets old. It gets old hearing someone blather on about something when their heart really isn’t in it; you can tell. But when someone is so incredibly passionate about something that it jumbles the words falling out of their mouth—that’s not exhausting at all; it’s reinvigorating.

That’s something I would wish on anyone having a discussion in their professional field. That’s what makes this feel like play-time when it really is work. It’s what enables me to send out stacks of emails (does that metaphor make sense?) without losing a bit of my drive for the day. And what’s more, it’s incredibly infectious. This is why I do what I do, and love it every day.

What Does It Say When Mainstream Artists Start Criticizing Tidal?

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I’m not much of a Mumford & Sons fan. I have nothing against them as musicians; I just find that my taste in music to be a little different. But I respect the hell out of them for the statement they put out today.

Pulled by Digital Music News from other sources this morning, M&S were reported as disliking Jay Z’s new service Tidal. They’re not alone; other mainstream artists like Lilly Allen and Mariana and the Diamonds have voiced distaste for the service. And that’s not even taking into account the near biblical response from music fans over the service, all of which I spoke about in my coverage of Tidal’s relaunch a couple weeks ago.

But what makes M&S’s statement so stark is the candor with which frontman Marcus Mumford explained the band’s view of the service:

We wouldn’t have joined it anyway, even if they had asked. We don’t want to be tribal. I think smaller bands should get paid more for it, too. Bigger bands have other ways of making money, so I don’t think you can complain. A band of our size shouldn’t be complaining. And when they say it’s artist-owned it’s owned by those rich, wealthy artists.

Wow, some pretty powerful words from the neo-folk rock frontman. I rest my case. I may not be a major fan of M&S’s music, but I for damn sure am a fan of how they see themselves and their fans. They know what they are, and they know what they’re not. And what they’re not is dying for money in the same way an independent artist is. What they are, according to this, are a group of artists who recognize their good fortune. They assert that other artists on their level should recognize similar good fortunes and stop “complaining.”

If this isn’t telling of the splitting we’re starting to see in the music industry, then I don’t know what is. It’s a big day when even mainstream artists are standing up and articulating the difference between themselves and independents. It’s a whole new world.

Today Was Saturday, Wasn’t It?

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This morning I woke up, showered, made some coffee, and sat down to work. Only I couldn’t focus.

I sat looking at my computer screen and reading some emails that had come in last night. I responded to a few, but couldn’t quite get “in the zone” to really like I was being productive. After a couple hours I started to wonder why that was.

As I took a break and went for a walk in the sunshine, it hit me: today was Saturday. I’d completely forgotten. So that’s it, I thought, I’m probably burned out from the week. And I was; it’s been a super long week.

On a day which most people take off, I’d woken up as I do every day: ready to work. Maybe it’s a hazard of being in the startup world, or maybe it’s that I love what I do so much that work doesn’t really feel like work (or at least, what “work” is supposed to feel like). Regardless, I work pretty much every day; there’s always something to get done. And most days I enjoy what I’m doing, so I tend to go without noticing the fact that I’m taxing my mental capacity (as any job does). I even find my mind whirring with new ideas as I try to sleep at night.

Yet what today highlighted for me is that it’s important to step back and let your brain breathe, even if you do love the work you do. The reality is that we can’t be on 100% of the time, and even if we try, the quality of our works suffers anyway.

I would love to say that in the future I’ll make sure to keep my work habits under control. Except it’ll probably be a lot more difficult than that. Even when I’m not “working,” I’m still emailing artists, setting up call times, looking for new music, working through new thought processes—this is just what I love to do. I don’t see that changing anytime soon. Perhaps I could benefit from a break over the weekend, but the truth is, if I could be at a concert tonight, “working,” I would be.

It may not even be as extreme as that; maybe I just need a Netflix-binge tonight to purify the system. Then back to work tomorrow. It’s a good thing Family Guy and Friends all on for instant stream. Break well deserved.

When Things Get Tough, Head Back to the Artists

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Some days in this business are hard. Some days are downright frustrating. The music business isn’t exactly known for being easy and fair. At times, the most infuriating thing can be dealing with the very industry that you stepped foot in in the first place. Massive egos, backroom deals, power struggles—these things aren’t relegated only to the field of politics.

But the thing that I learned very early on is that in this crazy, upside down industry, there’s really only one respite: the artists. Of course, that’s my own personal opinion, but I hold to it like gospel. On the hardest days, I always go back to the artists, and remember why I do this. It reminds me of my deep-seated passion for what they do and how they do it, and that I’m exceedingly lucky to be a part of the process.

Yesterday was a frustrating day. But that was rectified today; not by any major breakthrough or innovation, but by something as simple as a conversation with the people I love doing business with. A conversation this morning with an artist jump-started my day on a positive note; I could hear his excitement, and that fueled by own drive for the day. Then later in the afternoon, a conversation and interview with another artist I’m excited to work with. What might seem like work to others—scheduling calls, doing interviews, laying out plans—is like an adrenaline shot to me. I love it every day; perhaps that’s the reason I’ve almost turned into a “workaholic.”  But it’s not work for me; every new song I hear, every show I go to, every conversation I have—this is everything I would do on my vacation.

The music industry can be an amazing place. Even more so now that dynamics have shifted to give more power to the everyday singer/songwriter playing that song you like at a bar. We should all take advantage of it. That’s why in my off days, I always remember: when things snafu, just head back to the talent. When things get tough, just head back to the artists.

If You’re an Independent, Kiss SoundCloud Goodbye

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The Partnership with Zefr Isn’t the Real Story

News broke today both on The Verge and TechCrunch that SoundCloud is looking to step up its drive towards revenue by signing a deal with Zefr. For those unfamiliar with Zefr, they’re the same partner who works with YouTube to track content and brands. Part of what makes Zefr so helpful to YouTube is that they are able to track media files as well as specific brands like Nike or Coke.

But that’s actually not the story here. The real story is buried deep in the TechCrunch article. Helpful though Zefr may be to and for SoundCloud, they can’t help with the larger problem that SC has created for itself. No, that has to do with the licensing quagmire that SC is increasingly encircling itself with. It goes like this.

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SoundCloud, now a platform for major labels and advertisers

– SoundCloud, now a platform for major labels and advertisers

SoundCloud blew up as an independent-driven engine way before major label music was even a thought. It was the place for the singer/songwriter in his basement, or the newly formed doom metal band, to post their recordings and attempt fan acquisition. It was beloved by independents the world over because it was a free, easy way for them to distribute their material and make a name for themselves. That’s where SC started, but it’s not where they now find themselves.

Legal Problems That Were Never Solved

Of course SoundCloud’s rich environment of remixes and covers led to a legal quagmire that saw them losing material as complaints were brought against them from the original sources for copyright infringement. While Zefr does help specifically with this, it’s effectiely irrelevant, as independents will begin to migrate away from SC amidst a new major label focus anyway. I can imagine it was a major headache for SC as remixes and covers are particularly popular in certain genres of music. Thus began the drive away from remixes and towards “more mature” content. For those who care, this is basically code for major label content.

soundcloud_logo

And thus, instead of solving the more challenging problem (the legalities associated with remixes and covers) SC rather decided to chase the major label route to better compete with services like Spotify and Rdio. (Again, as noted above, partnering with Zefr does help, but will essentially become irrelevant in the bigger picture). In doing this, they basically told their grassroots fanbase (you know, the people who gave them love and support (and traffic) before anyone else) that they didn’t need them anymore.

Rather than spend the few million dollars of their funding figuring out the legalities they were faced with (which probably couldn’t have amounted to more than ~5M), they made the choice to look towards the major label paradigm for music content. Frankly, the partnership with a company like Zefr which helps in the copyright arena may not be too little, but it is too late. Let’s examine how this worked out for them.

Buying Into a Broken Business Model

Back in November of 2014, SoundCloud signed a licensing deal with Warner Music Group (one of The Big Three) to bring onto SC’s platform the music which Warner controlled through itself and its subsidiary labels. My assumption was (is) that SC is looking towards the other two big labels (Universal and Sony) to sign similar deals, and step up to the same level as a service like Spotify. Here’s why that was a bad business decision:

1. A Bad Business Model 

SoundCloud already had a dedicated userbase of independents who used it, without demanding licensing money upfront. To put this in perspective, the deal which SC signed with Warner most likely cost them ~45-50M for a 1-year contract. This means that they paid somewhere in the neighborhood of 50M to license music content from Warner for a year. This in turn means that they will most likely need to renegotiate sometime later this year; those licensing contracts are not static agreements. It also does not account for the royalties which they will need to pay on the backend. So, to recap, multi-million dollar expense on the front-end (which will need to be renegotiated eventually) and multi-million dollar expense on the backend.

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What the major label industry really looks like; The Big Three

– What the major label industry really looks like; The Big Three

2. You Can Only Have One Priority #1

Business 101: You can only have one priority #1 in the morning. SC’s priority #1 used to be its independent artists/users. Now it’s not, and it can’t be. How do I know? Because Warner now holds the power in the relationship. In providing SC with major label content, they have eventually shifted the paradigm of SC’s focus from independents to Warner’s major label artists. This means that, eventually, independents will begin to understand that they are no longer the priority, and will migrate elsewhere. That’s not a guess, that’s fact. Look at the migration patterns:

MySpace==>Purevolume==>Facebook==>SoundCloud==>?

The reality is that independent artists are loyal only insofar as they are the priority customer base. Why would they be loyal beyond that? They don’t have major label deals and massive radio play on FM radio to fall back on. And they’re not signed to a powerhouse like Warner or Universal. Which means they don’t need to settle for anything; they’re free to do whatever the hell they want.

3. You Should Never Depend on Anyone Else

SoundCloud has basically tied itself to the major label paradigm, which could cost it. It’s never a good business decision to tie your company’s future to the company structure and revenue of someone else. You should never be dependent on another company’s good fortune for your own upward trajectory. But in signing a deal with Warner, that’s effectively what SoundCloud did.

It goes like this: As the independents begin to see that SC has shifted its focus from their desires and needs to those of Warner’s major label artists, they will begin to look for other options. SoundCloud can’t really do anything about that because they’re now tied to Warner (and searching for deals with Universal and Sony). That means that as the independents begin to trickle out, they can’t market any sort of real campaign to woo them back; Warner wouldn’t let that happen. And if I was Warner, I wouldn’t either. Why would I? I want all the focus on my artists, not some independent artist who might be taking ears away from my stable of talent.

Once the independents start to trickle out to somewhere else, SoundCloud is essentially locked in to the major label paradigm. It will effectively need to renegotiate with Warner (and the others) because their major label content will become its lifeblood. If Warner decides not to renew their contract with SC (which they could do, since they have Spotify, Rdio, Deezer, etc. to fall back on), one could see the music-life sucked out of SC in a heartbeat. With no major label content, SC could become a shell of its former self, begging the independents to come back (which takes years, if it ever happens at all, just look at Purevolume and MySpace).

4. The Big Kicker

Now here’s the big kicker for SoundCloud: they have not yet been able to secure deals with Universal or Sony—only Warner. This means that they are effectively straddling two completely different music industries moving in opposite directions: the major label machine and the independent arena. Precarious though this may be, it’s not a secret. And the independents know it. Artists I’ve spoken to are already looking for more alternatives because they recognize that SC will soon become the same sort un-level playing-field as Spotify or Rdio, where they essentially stand no chance against the Taylor Swift’s and One Direction’s of the world.

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SoundCloud only has a deal with Warner as of now

– SoundCloud only has a deal with Warner as of now

If I’m SoundCloud, I’m driving hard at those Universal and Sony deals because I can’t backup. If I try to, that will send a message to Warner that I’m not really invested in their business model, and since Warner essentially now holds the keys to my content, that could be a major mistake. But if I continue to pursue those deals with the other major labels (which I can pretty much guarantee is what SC will do) I will lose that attractive quality that made me popular among independents to begin with.

Except these aren’t really the thoughts going around in SoundCloud’s head; they already made their decision when they inked that deal with Warner last November.

SoundCloud’s Independent-Focused Days Are Over

The options for SoundCloud as I see them now are really only to double-down on the major label paradigm and business model. They need to out-Spotify Spotify; and that’s going to be very difficult. Rather than sitting pretty as king of the hill with the ever-growing base of independents, they made the decision to move towards the major label content arena.

Does this mean that they are destined for failure? Of course not; they may in fact find a way to play the major label game better than even Spotify or Rdio. That’s entirely a possibility. Really only time will tell if that is what becomes of SC’s new business trajectory.

But it does mean that SoundCloud will play less and less of a significant role in the independent sphere, possibly moving mostly out of it in the next few years. It makes no economic sense for them to stay, now that they are pursuing the major label route. They may host independent material, but the independents will never be their bread and butter again—those days are coming to an end.

Independents aren’t stupid; they go where the best opportunities are for them. They don’t stick around too long where they’re not wanted or cared for. I wouldn’t, not if I was free to do what I wanted. Which begs the question: where will they go next?

Curated, Part I: Introduction

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This post will serve as a brief introduction in a much larger topic that I will cover in a series of posts called Curated. The posts will focus on the difference between curated discovery and real discovery in the music industry. Further posts will follow over the next few weeks, but for today, let’s simply set the stage.

Part I: Introduction

This morning I saw a new “music discovery” site that has taken a detour to try to re-imagine visual discovery. I was intrigued by a couple of things on the site, but as a whole, I don’t really think that the term “music discovery” is the right one to use. Let’s get one thing straight before we continue: curation is not and should not be a substitute for choice.

People need to stop using the phrase “new music discovery” when they really mean finding artists similar to the ones they already know and like. That’s not finding “new music;” it’s tracking based on similarities. This is what services like Spotify, Rdio, SoundCloud, and Pandora do. This is curation.

The term “new music” should (and does in many independent circles) denote music that is not generally known in the mainstream. It’s music that is actually new (created within the past year or two), and comes from an artist without mainstream name recognition. This was what “discovering new music” should be. This is what choice allows us to do.

It’s not about finding the other 10 ’80s bands just like Bon Jovi. It’s about finding that esoteric band from Belgium who released their album in 2010 and sounds like they walked out of 1986 (actually, I did find this band. They were called All I Know and damn could they wail). It’s about choosing to live outside the boundaries set. It’s about cutting down all the red-tape. Music is freedom, and freedom is choice.

There’s nothing wrong with liking what you like; but call it how it is—you’re not really “discovering new music” when you’re relying on an algorithm to make suggestions. Curation is a wonderful thing, but only to an extent. Curation is not wonderful when it becomes a substitute for choice. Relying solely on curation is basically how you end up tracking based on similarities. And that is not the same as “discovering new music.” Don’t be fooled into thinking that it is. Demand more.

And what’s better than curation as opposed to choice? Curation in addition to choice. Things just got very interesting.