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This weekend is the music industry’s biggest weekend. Or is it? Do people really care about The Grammys right now? They certainly didn’t care about the Golden Globes.
All of the typical tentpole moments in cultural marketing (NBA All-Star Weekend, SXSW) feel like one long Blurrrrrrrsday. It’s almost impossible to make these events connect without a physical presence.
On the other hand, you have an interview with Megan Markle and Prince Harry cutting through the mainstream like a knife to dominate culture. This was truly a watercooler moment and it shows the world will still gravitate to something, especially if it has a social justice component.
They are in the pole position to change the culture like no social platform has since Music.ly (and Instagram before that).
One of the biggest success stories of the pandemic has been an app called Clubhouse.
Clubhouse, which officially launched in February 2020, took off in late Spring and has since become the place to hangout, network, and connect.
All day and night there are conversations taking place on a wide range of topics from crypto secrets to racial injustice to the NFL playoffs (with top players from the league!)
The founders, Paul Davison and Rohan Seth, first raised money and eyebrows with an all-star consortium of Silicon Valley backers, including Andreesen Horowitz and the Cultural Leadership Fund (shouts to Chris Lyons for putting so many of us on!). The roughly $100 million dollar raise caught a lot of people’s attention: how can an app in beta with fewer than 5000 users garner a valuation like that?!
2021 Music Business Predictions & Trends [Nue Agency’s Jesse Kirshbaum]
Nue Agency CEO Jesse Kirshbaum lives at the intersection of music, brands, and technology which makes him more qualified than most to spot emerging trends and predict their impact on the future.
By
It goes without saying that the music business started the year in a very different spot than it finished. After serious declines in recorded music for most of my career, the business was seeing unprecedented, double-digit growth going into 2020. The live business was booming and more artists were touring, resulting in higher ticket sales. The festival business was continuing to expand globally in interesting ways. Social media was allowing artists to make meaningful connections with their fans, creating easy access to their most dedicated consumers and big D2C merchandise sales. Brand partnerships were going gangbusters and more VC money was coming into the industry via such verticals as publishing and music tec
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