Adeayo Adebiyi’s Post

Such an important topic of discussion with Gee Davy in Music Week 'on what UK artists and labels need to thrive amid increasing global competition' “British music is globally respected but the financial squeeze on UK-based labels and artists, particularly at the smaller end of the market, which cannot rely on corporate reserves or economies of scale, means less budget available for marketing, export or touring. Coupled with a reduction in real terms government funding for some of these activities over time, this means that it has become harder than ever for the UK to compete with other net music exporting nations.” ''There are plenty of UK artists being developed but breaking through is harder than ever. With the independent music business reportedly releasing 80% of new music, despite only 31.5% market share, there is a clear need for support for the independent sector to ensure British music can regain its top chart spots.” “The unique cultural makeup across the UK creates the perfect conditions for great music-making. Music and musicians speak to people’s lives and are important for the nation’s well-being and success and recognition. Homegrown talent and those who support their careers must get the attention they need to find and drive revenues back into the UK’s music economy – to fund investment in diverse future generations of great British music.” https://lnkd.in/ebcWKE3t

The music business in South Africa is a vibrant tapestry woven into several genres, from infectious amapiano rhythms to soulful kwaito compositions. This environment is teeming with brilliant artists that are passionate about their craft and want to make a difference. Underneath the dazzling lights and electrifying performances, however, is a hard reality: many South African musicians, whether contracted or independent, battle relentlessly for financial stability. According to a new report by the Music in Africa Foundation (MIAF), \"Revenue Streams for Music Creators in South Africa 2022,\" musicians there are having a hard time making ends meet. The report, which is based on a nationwide survey of 2,891 artists from all nine provinces, unveils an alarming truth: the average musician in South Africa earns just R9,890 per month. R141,548,500 is the total amount of money that all participants have brought in from their various sources.

It's hard to make it in the music industry. Streaming platforms now account for 48.3% of global recorded music industry revenues, amounting to $17.5 billion in 2022. This has changed not just the way people listen to the music but the very economics of the industry, particularly in terms of revenue and contract negotiations. Artists face a hard choice: sacrifice their identity & artistic integrity for fame or risk obscurity. The idea of "selling one's soul" has been a repeated theme in the music industry. Many would argue that it’s just a metaphor for sacrificing artistic integrity for fame and money. But can it be more than just a figure of speech & is there a way to dance with the devil without losing your soul? Trying to figure out exactly that in our new piece 👇 #musicindustry #musicbusiness #music https://lnkd.in/d2v_q_ri

Some strong words and assertions in this piece. Worth a read, think and discussion. "It cannot be understated enough that the bargaining abilities and artist control that lie as core tenets of the independent distribution space directly refute the rotten systems that allows the major label industry to sustain its system of abuse." INDEPENDENT MUSIC IS THE ONLY MUSIC INDUSTRY WORTH SAVING: https://lnkd.in/grKfkn2E

The ACA/CKrowd/PMAN Rhythms of Africa Project We are partnering with Artsconnect Africa and Performing Arts Musicians Association of Nigeria (PMAN to launch) a social impact project known as Rhythms of Africa. Rhythms of Africa is structured around two core pillars: exposure and empowerment for music industry professionals in traditional music genres. The project is starting in Nigeria, and it is the first step of a wider ACA and CKrowd initiative that will put the spotlight on traditional music genres across the continent. We believe that this project will take us further in achieving our goal of making social and economic impact within the African music space. Exposure: The project will deep dive into different traditional music genres, interact with stakeholders within the space, identify the issues and the opportunities and use our digital assets to create including recordings, interviews, and documentaries, to reach global audiences and raise awareness about the opportunities available within the Nigerian traditional African music space. Empowerment We hope that through our efforts in highlighting the issues and leveraging our networks will help link the professionals in the Nigerian local music space up with global opportunities that can help them earn from their skills and experience and further help create a value chain around the traditional music industry that will ensure that the creators of the culture behind these sounds can benefit from it. Impact and Future Aspirations of the “Rhythms of Africa” Project The impact of our project extends beyond individual musicians; it contributes to the broader cultural and economic landscape. By professionalizing traditional African music, we aim to create sustainable career paths for music professionals in these genres, foster cultural pride, and ensure the continuity of these musical traditions for future generations. Looking ahead, we aspire to expand our reach across more African countries, build partnerships with cultural institutions, and explore innovative ways to integrate traditional music into mainstream media and education systems. We believe that by investing in the next generation of traditional African music professionals, we are not only preserving a precious cultural heritage but also enriching the global music tapestry. Join Us in Our Journey We invite you to join us in this transformative journey. Whether you are a creative, technical or business professional in the music industry, a cultural enthusiast, or someone who believes in the power of music to drive social change, there are many ways to get involved. Together, we can amplify the voices of traditional African music, celebrate its diversity, and ensure its vibrant future. #TraditionalMusic #AfricanMusic #RhythmsofAfrica

IFPI - the global body representing the recorded music industry - just released it's 2023 report. The bottom line: revenue is up just over 10% from 2022. There are now 667 million music subscribers in the world, which account for roughly half of all industry revenue. The biggest area of growth? Physical formats - thanks vinyl! Although clearly my record collecting obsession isn't making much of a dent - this growth is mostly driven out of Asia (which is half of all global physical sales). What is driving this overall global rise? The biggest growth markets are Sub-Saharan Africa and Latin America, reflecting the global shift to more diverse music genres. In terms of individual countries, Canada was actually the 3rd fastest growing market at 12.2%, just behind Brazil (13.4%) and China way in front at 25.9% Lots more to dig into: https://lnkd.in/d65jabzP

We are seeing these issues from every corner of the globe with industry, governments, and citizens striving to find a realistic balance through new technologies. #noisecontrol #industrialnoisecontrol #urbannoise

Aslice's closure is a sobering wake-up call for electronic music. ⁠ ⁠ After nearly three years, the revenue-sharing platform, founded by DVS1, is shutting down. The model was simple: DJs pledge a small percentage of their fees to the artists whose music they play—an attempt to recalibrate a broken ecosystem where producers scramble for nominal streaming royalties while touring DJs earn large figures for spinning the same tunes. ⁠ ⁠ “Aslice didn’t fail. The famous, most followed DJs failed us all,” said techno legend and Aslice user Richie Hawtin. ⁠ ⁠ An independent report suggested that if only 40 more DJs “at the level of the current top ten users” had signed up, Aslice could have continued. Just one superstar DJ would’ve had the same effect. In our latest Opinion piece, we argue that performative, low-stakes activism is what’s really failing dance music.⁠ ⁠ Read the full piece via https://lnkd.in/g9GkRcBz

A recent music industry report shows that more people are discovering new music through random videos rather than actively following the artists behind it. The rise of platforms like Instagram and TikTok is largely driving this shift. There is a prominent shift in the dominance of solo performers and singer-songwriters, with bands almost vanishing from the charts. Rick Beato recently highlighted this trend in the UK. Between 1980 and 1985, bands held the top chart spots for around 150 weeks. From 1990 to 1995, it was 141 weeks. But how about the current decade (2020s)? - Just three weeks!  Is this why music feels so much more homogenized now? This speaks a lot about the journey of music from art to content.

I read a report by Youth Music with real interest this week. They’ve surveyed 2,100 young people as part of their 'Sound of the Next Generation’ report and have published some pretty hard-hitting findings. While the report shows there is an appetite from the next generation of music makers, it’s also clear that there are still too many barriers in the way. The good news is that 84% of young people said they feel that music makes their world better. This is music to my ears and I couldn’t agree more. More than half of those surveyed say they want more music in their lives. Yet, there is a north/south divide, with the North of England seeing the biggest drop in young people saying they’re musical and only 25% having had the chance to perform in public. Well done to Youth Music for unveiling this powerful insight. GigPig offers the opportunity for every musician looking to start their career and we stand behind you in getting the next generation of artists into venues. We continue to make sure every person who wants to make music in the UK, no matter where they are based, has the opportunity to break into the industry and succeed.