Simon Cowell’s hunt for the next big boy band is on, but this time, auditions are just a QR code scan away. Dream of becoming a pop idol? Simon Cowell, the music mogul behind hit-making bands such as One Direction, has begun a new challenge of discovering the next worldwide boy band sensation. But instead of going through the traditional, high-profile format, he used QR code technology to fast-track auditions and expedite recruitment efforts. The 64-year-old judge promoted his new show by posting reels on Instagram. The video featured a billboard with the messages “Simon needs you,” “Future megastars wanted for new boy band,” and a QR code that housed full details about the competition. Scanning the code leads to an online portal where budding performers can submit personal details and performance portfolios. In his pursuit of pop music gold, this unique approach shows the promising capability of QR codes to be a captivating spectacle and Cowell’s strategic understanding of the modern talent landscape. He believes there is a gap in the market for a band that can win over hearts and dominate the charts like One Direction did. Let’s be honest: Who doesn’t want to be the next Harry Styles or Zayn Malik? “I would pray to find a band as good as One Direction and to find the records as good as they made. There are so many factors involved to make a band successful all over the world,” Cowell said to a PA news agency. Cowell is not hoping lightning will strike twice, but he’s definitely throwing his energy into this search next to QR codes, which are doing their part in increasing the pool of talented singers. Aspiring performers worldwide can showcase their vocal prowess and charisma with the ease of their smartphones, potentially launching their careers from their bedrooms or local music studios. There’s no guarantee this plan will work. After all, One Direction was a one-of-a-kind crew. But Cowell’s a betting man, and he’s willing to roll the dice on finding the next group of talented men who can make teenage hearts swoon. How do you think this will go? Will this be a hit? Let us know what’s on your mind below!
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When they keep seeing you again.. again, again, again… You *might* know who I’m talking about — the Taylor Swift of the dance music world. Fred again.. of course. And if you haven’t heard of him (but seriously, he’s even on mainstream news), well, you have now. He’s sold out multiple arena shows and pop-up gigs and broken the hearts of Aussie fans who couldn’t get tickets. He’s done a few things that are just ‘big ticks’. ✔️ Musically, obviously multi-talented with singing, producing, DJing, and playing instruments. Plus, innovating sound through the use of sampling real-life clips and strong emotional hooks in his music inspiring musical loops that play in your head all day. It’s almost perfect timing that he got big during covid — it’s exactly what people needed, music is therapy after all. The music is also genre-bending (with elements of house, pop, UK garage and more), so it appeals to a mass audience. Plenty of his fans aren’t traditionally into electronic music. He’s also done huge collabs with some of the world’s biggest artists, won accolades, and is a ‘nepo baby’ but I won’t go into that. Curiously, he’s even caught the underground music listeners by surprise, who often feel commercial music is cringe. From a marketing POV: The inherent virality of social media has allowed the hype to grow exponentially. I mean, I added a comment to a random video of one of his concerts just yesterday and it has approx 400 likes and counting. Tons of FOMO and scarcity marketing with show pop ups and blink-and-you’ll-miss-it ticket sales. I woke up to the news of a show at Revs (down the road from me) and it was… frustrating. Plus he is super organic in how he relates to his fans, from the aesthetics of his branding to the way he relates to fans on socials and in person in an authentic, seemingly humble way. Anyway, I’d much rather see him all over my feed than Taylor Swift! A lot of brands should be taking notes here. #socialemediamarketing #contentmarketing #fredagain #musicpromotion #musicmarketing
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Sabrina Carpenter has been in the music industry since 2011. But it’s only recently that she’s on a fast track to stardom. How did she do it? RIGHT Associations. ↳ Beef with the RIGHT People – Drama sells! Humans are suckers for gossip and drama. Sabrina's involvement in a love triangle with Olivia Rodrigo and Joshua Bassett grabbed a lot of attention and headlines. ↳Friendship with RIGHT People – Sabrina is opening for Taylor Swift’s 2024 concert tour. Aligning with one of the most influential people in America right now has skyrocketed her visibility and credibility. So, if you want to market yourself and reach a larger audience, you can take a page from Sabrina’s playbook: ↳Embrace Drama (Strategically) – While drama and negative publicity can be frowned upon, they are undeniably effective. Brands leverage this tactic all the time to stay in the spotlight. ↳Associate and Network Wisely – Collaborate with influential people in your industry. Engage in mutual audience exchanges on social media to expand your reach. By aligning yourself with the right people and staying relevant in the public eye, you can significantly boost your brand’s visibility and appeal. ------ What do you think? Have you seen this strategy work in other industries? Share your thoughts!
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Blurring the lines between my professional and personal life, but this documentary should be in front of as many eyes as possible so sharing here for y’all 🪩 A few things: 1. This documentary is an absolute masterpiece in so many ways. The way it tells the story of not only what happened to Exit/In, not just what’s happening to Nashville, but the current state of affairs in indie live music is nothing short of incredible. 2. If you somehow still have any questions about why corporate overlords like Live Nation and AJ Capital Partners are sucking the soul out of music, watch this. Spark notes of that portion of the film: just because a venue remains a venue after it’s purchased doesn’t mean that it holds the same place in its community or in the overall music ecosystem - corporations care about their bottom line and NOTHING ELSE despite the narrative they try to spin on you about “preserving the culture.” Go ahead and look at their calendars and see how many young, emerging artists they give a shot on their stages. 3. I believe with every fiber of my being in the power of storytelling to change the world through changing how people care about things. Storytelling, through film, music, and other mediums, bridges seemingly impossible gaps by allowing us to empathize with and understand the stories of people we didn’t “understand” before. Ensuring that stories like this have an amplified platform will continue to be a critical component of the “fight” going forward and I hope that advocates and advocacy organizations prioritize making that happen. It doesn’t have to be in the version of a feature-length film every time - it can be social media campaigns, interviews, or just someone talking about it on a panel at a conference. But I swear to god without that we don’t stand a chance. 4. I am constantly amazed by the role Chris Cobb plays in the war that is protecting indie live music from extinction, and his unwavering dedication and refusal to roll over is captured in this film. I’m not sure if it’s possible to watch this and not be overcome with inspiration and admiration. For the entire industry, I am grateful for him. For myself personally, I am grateful for him. https://lnkd.in/ghg6ne_9
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🎉Celebrating 15 years and reminiscing from 2009 to 2024...wow, what a glow-up! Feeling nostalgic? So are we. Check out our latest blog with a nod to the "That was then, this is now" trend covering the economy, digital, style trends, music, and more. https://lnkd.in/e5CY_Jxm
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Let's have a discussion.... They (whoever 'they' are), say that the music industry is a young person's game and of course, in most cases that would be a fair statement, given the modern "needs" for looks, youth, 'TikTokability' and auto-tune ;) But I put it to you, that most of the biggest selling global artists currently touring and filling out stadiums around the world, are actually over 50. Will any of today's talent still be selling out stadiums in their twilight years? Not very many I would bet. I suppose one could argue that their following will also grow old with them and still go to the concerts as a reminder of their own youth, but take for instance, the current #Springsteen tour, where many of the audience are younger people who have been brought up listening to their parents music. So what do YOU believe is the future for music? Should the industry be spending more money signing TALENT, whatever the age? Should labels be investing in 5 album life-long projects, like they once did? Or is the continued signing of TikTokers, the way forward because they already have a 'following'? I'd be genuinely interested in your thoughts.
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New Post: SuperM, five years on: What happened to the Avengers of K-pop? - https://lnkd.in/gVir-6Ga - Some may see 2019 as the definitive end to a type of life. It’s been called the ‘before times’ – the last moment before everything changed forever in 2020 when COVID-19 shut down the world, creating a ripple effect that still spreads into how we live our lives today. But every action has an equal and opposite reaction. And while life as we knew it hurtled toward an end, another cataclysmic force was birthed into existence. It was born when two exertive movements combined like colliding stars bursting into a supernova that lit up the sky in a blinding haze. We are, of course, talking about SuperM’s ‘Jopping’. READ MORE: Tomorrow X Together’s Yeonjun gets experimental on ‘GGUM’, but his new single doesn’t pop The symbiotic mash-up of “jumping” and “popping” was introduced to the world in October 2019 by SuperM, SM Entertainment’s ambitious take on a K-pop supergroup. It was made up of some of the industry’s deadliest weapons: SHINee’s wunderkind Taemin; EXO’s vocal powerhouse Baekhyun and dance machine Kai; NCT 127’s illustrious leader Taeyong and SM’s most-employed idol Mark; and WayV’s lythe and slinky Ten and booming presence Lucas. Together, they united to create “he Avengers of K-pop”. SuperM was a two-pronged attack – they further bolstered the notion of a one-stop shop SM Entertainment “family” and were spawned as the brainchild of the label (and its founder Lee Soo-man) and Capitol Music Group as a purposeful way to push the boundaries of K-pop’s success in the West. Though, supergroups weren’t an entirely new idea in the Korean music industry either. 10 years earlier, 4Tomorrow harnessed the power of four separate K-pop agencies for a group consisting of Brown Eyed Girls’ Gain, After School’s UEE, KARA’s Seungyeon and 4Minute’s Hyuna. After drip-feeding “the Avengers of K-pop” throughout the summer, SuperM officially debuted at the iconic Capitol Records building in Hollywood on October 3 with an all-bells-and-whistles press conference introducing themselves to America as the next great K-pop group. Unexpectedly (or, in hindsight, very expectedly), ‘Jopping’ – which was sung almost entirely in English and backed by a fittingly anthemic Marvel-esque score – was instantly divisive. To every K-pop fan, especially those who had tried to convince their uninitiated friends and loved ones to give the genre a chance, it was immediate that this was not going to be a crossover hit. The song was decidedly un-Western with its overstimulating bombasticness, harsh edges and, let’s face it, ludicrous lyrics. Normally, that isn’t much of a concern when it comes to K-pop, which is marked by its penchant for juxtaposing musicality, but this was a song and project intended to hook America. Desp
SuperM, five years on: What happened to the Avengers of K-pop?
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New Post: Steve Aoki’s Dim Mak Label Names Lorne Padman to President - https://lnkd.in/gsaGMcez - Steve Aoki‘s longstanding Dim Mak label has a new president, with Lorne Padman — the imprint’s vp for the last decade — assuming the position. In the role, the Los Angeles-based Padman will oversee strategy for the imprint, which was founded by Aoki in 1996 while he was a student at UC Santa Barbara. The current Dim Mak roster includes producers like Henry Fong, Chyl, Ookay, Deorro, Cash Cash, Cheyenne Giles, Sikdope, 4B and more, with upcoming releases from Ray Ray, Mila Falls, Nostalgix and Aoki and Afrojack’s collaborative Afroki project, among others. “Throughout Lorne’s ten years as vice president, he has been an integral part of the label’s success story,” Aoki tells Billboard. “His ability to cultivate strong relationships within the industry has been critical in elevating the reputation of Dim Mak’s brand. I’m confident that Lorne’s leadership and hard work will continue to steer the label toward further growth and excellence.” Related Steve Aoki On His New Music, Big Bets And Becoming the ‘Loud’ Asian American Hero He… 04/26/2024 Padman tells Billboard that for him, the label’s health and vibrancy is demonstrated by the fact that artists from across the roster collaborate often, without being pushed to by management. “For me,” he says, “that’s an indication we must be doing something right, if we’re creating an ecosystem of talent that all want to work with each other and get along socially and musically.” These artists make many different styles of electronic music, with Dim Mak focused less on cultivating a specific sound and more on releasing compelling, relevant output. The idea, Padman says, is to offer a “complementary roster of different sounds, from really fresh underground and cool and new. But also, a bit like a financial portfolio, you can’t only be taking moonshots, you also need to have some established things that will guard our reputation and can also financially open the possibility of being able to take swings at emerging artists.” Taking swings is built into Dim Mak’s business model, with the label’s New Noise imprint having released music from a totally new artist every two weeks for the last decade. This structure offers artists with what is often their first official release, providing them with the Dim Mak visibility boost while helping the label identify emerging sounds and trends. Altogether, Padman says, it’s “an avenue to market for development artists that are potentially too small for some other other labels.” Padman brings decades of
Steve Aoki’s Dim Mak Label Names Lorne Padman to President
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I asked Gabe "P" Pabon , the founder and host of On The Radar Radio and on-air personality of Power 105.1, what he does for a living... Since starting On The Radar, Gabe P has carved a unique niche in the music industry and has pioneered a new wave taking over the music and media space. Starting from humble beginnings in 2018, in an empty studio at iHeart Music, Gabe's vision was simple yet ambitious: to create a platform that authentically represented the emerging voices in rap. This vision quickly evolved into On The Radar Radio, a show that not only showcases talent but also sets trends and influences the culture on a massive scale. With a clear eye and ear for talent and an uncompromising dedication to giving artists a voice, Gabe has transformed On The Radar into a pivotal voice in the New York hip-hop scene and beyond. But what made On The Radar so successful just a few years in? Authenticity and accessibility. On The Radar didn’t wait for artists to come to him with a million followers or a platinum record. He opened the doors to anyone with passion and a story to tell. This inclusive approach has produced viral moments that garnered attention from industry giants like Drake and Nicki Minaj, and has broken artists like Ice Spice and Concrete Boys. But On The Radar is more than just a radio show, it’s a fast-growing movement... With the launch of On The Radar Records, Gabe is taking his vision a step further, nurturing talent not just on-air but through records. This expansion signifies that On The Radar isn’t just highlighting artists, but rather developing and promoting them on a larger scale. Looking ahead, On The Radar is poised to become a global brand, continuing to showcase diverse talent and bring new music to the forefront of culture. Whether it’s through viral freestyles, interviews, or records, On The Radar's and Gabe’s influence on the music industry is undeniable and a prime example of how passion, when paired with strategic vision, can change an entire industry. #musicindustry #whatdoyoudoforaliving #ontheradar #music
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In 2024, all eyes are on “Superfans” and rightfully so. This devoted segment is more than twice as likely to spend on your artist’s physical and digital music, concert tickets and merchandise. This means these fans can potentially make or break an artist’s entire career. And the behemoths of our industry have taken notice. Sir Lucian Grainge, CEO of Universal Music Group, mentioned during their last quarterly report that UMG’s next focus is to strengthen artist-fan relationships through super fan experiences and products. 🤔 But how do you: 1️⃣ Identify who your Superfans are 2️⃣ Nurture Artist – Superfan relationships 3️⃣ Transform regular fans into Superfans 4️⃣ Super serve your Superfans We have put together a comprehensive guide answering all those questions and so much more. Check it out: https://hubs.ly/Q02q8tK50
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ARTISTS: This is the best chance you have to finally breakout of going unnoticed by top concert presenters. The traditional route is getting an agent or manager, landing press coverage, and voilà — you have better concerts. But the world has changed, and it doesn’t really work like that for most artists now. I think ultimately if you’re a truly great artist, you will be noticed because people in the music industry are always watching and listening. However, I do believe there are times when an artist is really remarkable and for numerous reasons of bad luck, they get behind the eight ball and no one ever notices them. Typically, when an exceptional artist has trouble getting noticed by the right people to advance their careers, I’ve found that they are introverts. This might be controversial, but I’ve seen it over and over in my professional experience. In this isolated situation, artists who are extroverts typically get noticed more than introverts. But what does this really mean? I think it has to do with the artist’s network. It’s true in business as it is in the arts — your net worth is your network. And when artists have a limited pool of people around them and keep to themselves even if they’re exceptionally talented at the highest level, no one knows about you and you remain in this purgatory. The only way out of this situation is to switch your mindset and expand your network of people. In my mind, this is best done by effectively building your audience on social media. -- Follow Jonathan Eifert for more.
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Thanks, Benjamin Claeys this QR strategy is 🔥, I just signed us up, you as lead singer and I will do my best on guitar -- we just need to add the drums and bass before auditions :)