IKS Cultural Consulting ’s Post

Honestly, our music world is too sacred not to change something about the ways we deliver our art. Many musicians believe that they just have to keep following the old paths of competitions, agencies and scholarships. They are stressed, because they feel something isn't working for them. The concerts are not coming and many agencies, labels and organizers run out of money. The problem is NOT that musicians don't play well or that people don't like to listen to classical music anymore. The problem is that they haven't mastered the new ways of communicating with their audience. They need to understand how to reach their audience, organizers and also potential students online. Look, where do you spend your free time? Yes, you. If you are like me, you scroll through Youtube, Instagram and Facebook a lot in your free time, and still love going to concerts and listening to music on Spotify. But you're on social media many hours per day. If you're on these platforms anyways, you just need to find a way to communicate your talent and your skills properly. And then talk to people in a way that makes your offers interesting for them. Yes, also as a musician. This is the hard truth. I've seen that this is possible with my mentee Michael, for example, who has literally started his own company playing concerts traveling around with his own piano and succeeded in attracting organizers with good fees, even organizers that don't have a piano. Send me a personal message if you're curious about it. I am doing this because I want to help other musicians to develop in these difficult times as well. Many things are changing, so we need to change as well. Just hit me up and I'll give you some feedback.

The Intersection of Country Music: Bridging the Gap Despite its deep roots in African American heritage, many individuals from my community, like myself, find ourselves distanced from the genre of country music. It's an irony considering the significant contributions African slaves (Americans) made to the early formation of country music. However, somewhere along the line, a shift occurred. The rise of artists like Chuck Berry, Fats Domino, and Elvis Presley in the 1950s ushered in the era of rock & roll, diverting attention away from the traditional sounds of country. The issue, as I see it, is two-fold. Firstly, African Americans didn't cling as tightly to their country music heritage as they did to the emerging sounds of rock & roll. Secondly, the executives in Nashville failed to embrace the blending of both musical traditions, thereby perpetuating a divide. Imagine the societal impact if both strands of country music were allowed to coexist and blend harmoniously. Much like the segregation seen in early music videos, where 'our' music and 'their' music were distinct entities, this division serves only to deepen the chasm between communities. But must this musical wall persist? I propose the creation of hybrid music stations on platforms like Sirius XM, FM, and AM radio. This move could mark a historic milestone, achieving what civil laws and politics have failed to do. #TaylorSwift, for instance, has garnered praise even from unexpected quarters like the late Kobe Bryant for her growth and adaptation within country music. Yet, why isn't her music, alongside artists like #ChrisStapleton, featured on R&B stations or a hybrid R&B and country music station? There's a mutual interest in each other's musical genres waiting to be explored. Speaking of Chris Stapleton, his recent performance on Saturday Night Live showcased a raw, authentic country sound that left a lasting impression. His ability to deliver both gritty, outlaw-style tunes and soulful ballads speaks volumes about the versatility of country music. It's performances like these that compel one to yearn for a live experience. I would like to see him if he comes to Atlanta, Ga. In conclusion, the potential for collaboration and mutual appreciation between different musical communities is immense. By breaking down the barriers that exist within the industry, we pave the way for a richer, more inclusive musical landscape. Do you know who these two pictured country artist are? And, what are your thoughts.

Brazilian Funk Is Going Global. Why Aren't More Artists Breaking Through? https://buff.ly/4aj7HZu Brazilian Funk is gaining traction on the global music scene, captivating audiences worldwide with its infectious beats and vibrant energy. Despite its rising popularity, many artists from this genre are still struggling to make a breakthrough on an international scale. One of the main challenges faced by Brazilian Funk artists is the language barrier. Most of the lyrics in this genre are in Portuguese, which can limit the appeal to non-Portuguese speaking audiences. To overcome this hurdle, artists could consider releasing bilingual tracks or providing translations for their songs to make them more accessible to a wider audience. Another factor that may be hindering the global success of Brazilian Funk artists is the lack of exposure in mainstream media outlets. While platforms like social media and streaming services have provided opportunities for independent artists to reach a broader audience, breaking into traditional media channels such as radio and television can still be a significant challenge. In addition to these obstacles, the music industry itself can also present hurdles for Brazilian Funk artists looking to go global. With fierce competition and changing trends, staying relevant and attracting the attention of international audiences can be a constant struggle. Collaborating with artists from different genres or regions could be a strategic way for Brazilian Funk artists to diversify their sound and appeal to a more diverse audience. Despite these challenges, the global potential of Brazilian Funk is undeniable. With its infectious rhythms and unique blend of cultural influences, there is a wealth of untapped opportunities for artists in this genre to break through on a global scale. By leveraging online platforms, exploring new collaborations, and adapting to the ever-changing music landscape, Brazilian Funk artists can position themselves for success on the international stage.

In response to Marc Hogan’s recent NYT piece: 1. Consolidations ‘ruined’ the evergreen fountain, not PE: One can argue that it’s been since the early 90’s when the US market lost diverse radio stations, concomitant with smaller labels bought by and into large ones, that the volume and *quality* of new music has suffered. Once digitalization became available, opening a (constrained) smorgasbord to listeners, their ears took them to where things sounded good: that’s all of the catalog tunes Marc is complaining about. One needs only to look at listening habits by vintage and demographic group and see that - as the streaming providers gained larger audiences - listeners cleave towards music vintages that hold nostalgia and arguably more qualitatively desirable music. These are facts. The majors have missed the quality train for about 30 years now. It’s how come artists like Raul Midón are touring small venues when predecessors like Stevie Wonder or Jose Feliciano had huge audiences (and major label support to curate them). That PE firms have clued into these trends and monetized catalog is money following behavior. Not the other way ‘round. 2. There’s gold in them ‘thar crates: What every Dj knows. Just like in academia (where it sometimes takes a generation to pass before seminal work properly resides in the canon) there is music in catalog that because of circumstance is of high quality and listener affinity. I’m thinking of tracks like “Baby Im Scared of You” by Womack and Womack or “What About My Love” by Damaris. DJ’s who are dedicated to their craft and who are the frontlines of who likes what in music production perennially ‘discover’ new old music and introduce it to new audiences, kids who might pick up a guitar. It’s simply not reasonable for Jaco Pastorius or Graham Funk Railroad to be blamed for crowding out the next and future Jack White, say. Just like in academia where, often (I’m thinking of Shannon reading Boltzmann, for example, or Gelfand reading the Geman brothers who read Josiah Gibbs (who was a contemporary of Boltzmann)), seminal work matures into the fame and import it deserves, sometimes we miss evergreen tunes the first time around. 3. A rising tide lifts all boats. A listening attention budget isn’t finite. One of great things about our ears is that they passively and actively intake information. We can be driving or playing the piano ourselves and in each mode enjoy Tchaikovsky. Should artists, in particular musicians, be compensated more and have even more outlets to propagate and monetize their art? Hell yes. Blaming catalog music and musicians of yore for a perceived creative dearth in new music is placing the fault of the loaf with the yeast and not today’s Bakers.

“The findings show that live music intensifies our emotional response, probably due to its free-flowing, dynamic nature, says Frühholz. The researchers hope to repeat the experiment with a larger audience in a concert setting. “If you go to a live concert, you’re not alone,” says Frühholz. “This intensified emotional experience is also a social experience.” The free flowing dynamic nuances are of course entirely due to the adjustments and decisions of the performers in real time, responding to the emotional atmosphere of the event; in other words, the skill of live performers. Although this article is great, it is also shocking to see the conclusion missing out the input of performer skill and choices in performance of free-flowing dynamic music. We seek to achieve peak performance and flow - that’s why we keep performing- to achieve the very effect he has “probably” attributed to the nature of live music….! Still, any encouragement to attend a live performance is good of course! #highperformance

Kita Boo Shares Her Inspiring Journey to Music Industry Success On today's episode of Diversified Game Kita Boo talks about her experience in the music industry as a female artist and entrepreneur. She discusses her experience moving from the old days of music into the new AI era. Connect with Kita: Instagram: https://lnkd.in/eEqQTUAJ Apple Music: https://lnkd.in/erDc_Wgd Buy Courses at https://lnkd.in/ey6J_Eij Support Us On Patreon: https://lnkd.in/gciC927X Impromptu Zoom Meeting Introductions and background @ 0:00 Kellen Coleman introduces Kita Boo, an entrepreneur, artist, and realtor, and they discuss Kita's background in music, including how she started writing songs at 15 and has been pursuing a music career for 16 years. Kita explains how she transitioned from just recording music to actively performing and building her network. Navigating the music industry @ 13:46 Kita discusses the challenges she faced as a female artist, including unwanted advances from industry figures. She explains how she became more self-sufficient, learning the business side and investing in her own studio and label rather than relying on others. Kita emphasizes the importance of educating yourself, being strategic, and not letting your emotions get the best of you in the cutthroat music industry. Balancing music and other ventures @ 37:37 Kita describes how the shift to the internet and social media has empowered independent artists like herself, allowing her to build a following and career without relying on traditional industry gatekeepers. She discusses the importance of having multiple income streams and not banking on music alone to sustain a living. Faith, authenticity, and community @ 53:43 Kita shares her perspective on being a Christian artist, explaining that while she has gospel music, she feels most rejected by the church and embraces a more personal faith that is not confined to traditional religious boxes. She discusses the importance of being authentic to oneself rather than trying to fit into others' expectations. Future plans and advice @ 1:00:32 Kita discusses her upcoming book and documentary projects, as well as her plans to open a community center and homeless shelter. She emphasizes the importance of enjoying one's accomplishments and not constantly rushing to the next thing, as well as the value of self-care and protecting one's energy. --- Send in a voice message: https://lnkd.in/emVqVy75

These days, our eyes are mostly trained on the agendas of the parties running for the European Parliament to see where and if the word 'culture' pops up. Meanwhile, I have glanced in the sectoral mirror and sought to understand why the music ecosystem looks so fragmented. I argue that we have institutionalised this fragmentation by building interest representation organisations around diverse narratives of how the music world operates. These organisations are crucial to our efforts of giving a voice to various groups in the music ecosystem who might otherwise be marginalised or remain invisible and powerless. This benefit, however, comes at a cost.. #musicpolicy

I received an email from a musician recently: "Just emailing as I wanted to seek some advice on a current project that I am trying to get off the ground and book a first gig for. Wondered if you have any tips on contacting venues for bookings when my band doesn’t have any music released/ what to send that will get noticed… " I'm curious if the advice I responded with (below) is something that other music educators, venue people, musicians, managers or anyone out there would agree with, disagree with or develop? It was quite spur of the moment but I kept thinking about it. Here goes: 1. Make a short list of the venues you really want to play at. 2. Go to those venues and talk to any of the team there (door staff, bar staff, sound engineer - anyone) and tell them you really want to play there. See what advice they give you. 3. What recordings do you have? Can you get some rough ones up on a Soundcloud account so you have something to share. 4. Venues will be worried that you can't bring anyone to see you play(and buy beer) if you haven't released music or don't have a visible online following. How can you help them feel confident you will bring people down? 5. Give the project a proper name (not the something something Quartet) get some photos of yourself from someone with a nice camera or the latest Iphone is good as well. 6. Make a one page doc that has 300 words of text on what the project is about, put the image at the top and your email and any social channels. 7. Put an iphone in your rehearsal room and capture one song, put this on youtube and share this with your soundcloud and one pager when you have visited each venue individually and established some rapport with them in person. 8. Send an email: "Hi I was at your venue on Saturday and Steve, your amazing sound guy, suggested I email you with my music. I love what you do there, and would like to know if there is a slot for an emerging artist like myself to bring a new project to?" *attach one pager and links. 9. Don't expect to get any immediate responses despite doing all of the above. Follow up a week later "Hey, just checking in on this, let me know if you have any thoughts." 10. Still not heard back? Keep going to the venue: "Hey steve me again, I emailed but didn't hear back?" He'll nudge someone to get back to you. If not just keep persevering and become a regular. 11. Still no gig? You gotta book your own. Find a space which you and your mates like and see if they have a room upstairs or out back. Don't bother with music venues yet, just find a space you can get without much fuss. 12. Promote a launch show for your new project. You will have to solve a lot of other fun problems like ticketing and some basic marketing but it's not that hard and you are smart. You will figure it out if it matters enough to you to play the music and you can build from there.