Business
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Spotify said on Monday (July 24) it is raising the price of its premium individual plan by $1 in North America, Europe and Asia amid widespread calls from investors, analysts and the music industry to join other streaming platforms that have raised prices. “The market landscape has continued to evolve since we launched,” Spotify said […]
Sony Music Entertainment Germany and nonprofit artist association Music Women* Germany (MWG) have announced the winners of the 2023 Female* Producer Prize. The honor is designed to support and promote the careers of rising female-identifying producers across Germany.
The seven winners — Mimski, Evîn, Kota No Uta, Mona Yim, Aufmischen, Sheyda Minia and Just Honest — were selected from more than 150 applicants by a five-member jury. They will receive a support package consisting of production grants, vouchers for music equipment and a producer workshop at Sony Music Germany’s Circle Studios. They will also be added to the female producer register at Sony Music and NEUBAU Music Management, which will put them in touch with various labels and artists. Additionally, newly added partners Sony Music Publishing and the Female* Producer Collective will offer coaching sessions for the winners.
In addition to the seven selected applicants, a shortlist of 20 applicants will also be added to Sony Music and NEUBAU’s female producer register.
“The great response and the enormously high level of over 150 applications this year have not only shown how overdue the Female* Producer Prize was, but above all, how many highly competent and visionary female music producers there are out there,” said Jovanka v. Wilsdorf, jury member and initiator of the Female* Producer Prize, in a statement. “Visibility develops a radiance that creates measurable success.”
Added Sony Music Columbia Records Germany head of A&R Sarah Schneider, who also served on the jury: “More female and non-binary producers means more perspectives! This is again demonstrated by the outstanding quality of the many applications received. As a record label, we want to apply industry-wide approaches and tools to actively move forward to effect a change in the status quo.”
In addition to Wilsdorf and Schneider, the 2023 jury consisted of Novaa, a producer and finalist for last year’s prize; U.K. music producer, composer, sound engineer and sheWrites co-founder Charlie McClean; Pamela Owusu Brenyah, a freelance curator, creative consultant and project manager who serves as program curator of Musicboard Berlin and board member of Music Women Germany, among other roles; and music producer and songwriter Moses Schneider.
The Female* Producer Prize is supported by Reeperbahn Festival (sponsored by the Federal Government Commissioner for Culture and the Media) and sponsored by Thomann, Ableton, NEUBAU, Female* Producer Collective, Sony Music and Sony Music Publishing.
The award ceremony and workshop will be held in Berlin on September 14.
You can read capsule descriptions of the winners below.
Mimski: Started producing in early 2022, first in Germany and then in England, where she received a warmer welcome as a female producer than in Germany. There she submitted a beat for the Novembars competition, which helped her breakthrough: her first track was played directly on radio shows. She is currently working on her first album, which will be released on the RUNTLIFE Records label and working on an EP with King Kashmere as well as a Female Force EP with several female rappers.
Evîn: A German/Kurdish singer and producer in alternative R&B. Her music combines elements from different genres like soul and hip-hop with her Kurdish roots, giving her a characteristic sound within the German scene. Emotions and experiences, as well as themes like escape, memory culture and belonging can be found in Evîn’s songs, which she writes and produces in her home studio in Berlin. April 2022 saw the release of Evîn’s debut EP, followed immediately by her second EP, It wasn’t even for you, in November 2022.
Kota No Uta: Singer-songwriter and producer who works mainly in the direction of jazz, soul and neo soul. In October 2022 she released her song “Autumn Leaves” in self-production. At the moment she is working on two releases with collaborators and her own EP.
Mona Yim: A Chinese-German music producer, singer and DJ from Hamburg, Germany. Her music combines emotional vocal hooks with her self-produced electronic productions inspired by UK garage, house and electronica as well as influences from her training as a classical violinist and performer. Her debut release in 2022 was followed by further releases on labels such as Ninja Tune and remixes for Glass Animals and DJ Seinfeld, among others. She has played venues such as O2 Academy Brixton, DGTL Festival, Printworks, KOKO and Warehouse Project.
Aufmischen: Producer who started her first steps in the music industry as a drummer, in her studies she wrote contemporary compositions for classical ensembles before she dedicated herself completely to pop music. In 2022 her productions can be heard on the album of poetry artist Dshamilja Roshani, the EP of pop singer Pieke and numerous singles of other artists. More releases are planned for this year, such as the album by artist Elay.
Sheyda Minia: Iranian-born artist who began playing the harp at the age of 8 and became a junior student at the Musikhochschule in Cologne at 13. At 16, she used her first self-earned money to buy an interface microphone and Logic music software so she could finally produce her own beats. At the end of 2021 she was discovered by Mehrzad Marashi the CEO of Impulse-Records GmbH, where she has been working as a producer ever since.
Just Honest: Music has saved producer Just Honest many times, so she had no choice but to bring her songs to life and produce them herself. Hoping to touch, heal and inspire the hearts of others. Her debut single, “Toxic Culture,” has already reached over 1 million streams, and her debut album, No Love No Hate, is about to be released.
Elon Musk said Sunday (July 23) that he plans to change the logo of Twitter to an “X” from the famous blue bird, marking what would be the latest big change since he bought the social media platform for $44 billion last year.
In a series of posts on his Twitter account starting just after 12 a.m. ET, Twitter’s owner said that he’s looking to make the change worldwide as soon as Monday.
“And soon we shall bid adieu to the twitter brand and, gradually, all the birds,” Musk wrote on his account.
The change isn’t surprising given Musk’s long history with the name “X,” says Allen Adamson, co-founder of marketing consultancy Metaforce. The billionaire Tesla CEO tweeted last October that “buying Twitter is an accelerant to creating X, the everything app.”
Musk’s rocket company, Space Exploration Technologies Corp., is commonly known as SpaceX. And in 1999, Musk founded a startup called X.com, an online financial services company now known as PayPal.
“Not sure what subtle clues gave it way, but I like the letter X,” Musk tweeted Sunday.
But the change on Twitter was met with sharp criticism on the social media platform.
The change will be very confusing to a huge chunk of the Twitter’s audience, which has been already souring on the social platform given a slew of other major changes Musk has made, Adamson said.
“They won’t get it,” he said. “It’s a fitting end to a phenomenal unwinding of an iconic brand and business.”
Earlier this month, Musk put new curfews on his digital town square, a move that met with sharp criticism that it could drive away more advertisers and undermine its cultural influence as a trendsetter.
The higher tweet-viewing threshold is part of an $8-per-month subscription service that Musk rolled out earlier this year in an attempt to boost Twitter revenue. Revenue has dropped sharply since Musk took over the company and laid off roughly three-fourths of the workforce to slash costs and avoid bankruptcy.
In May, Musk hired longtime NBC Universal executive Linda Yaccarino as Twitter’s CEO.
Luring advertisers is essential for Musk and Twitter after many fled in the early months after his takeover of the social media platform, fearing damage to their brands in the enveloping chaos. Advertisers have cut back on spending partly because of changes Musk has made that has allowed for more hateful content to flourish and that has offended a wider part of the platform’s audience.
Musk said in late April that advertisers had returned, but provided no specifics.
Musk’s move to change Twitter’s logo to an “X” also comes as Twitter faces new competition from Meta’s new app, Threads, launched earlier this month. It has been seen as an alternative for those who have been upset with Twitter.
Threads is being billed as a text-based version of Meta’s photo-sharing app Instagram that the company has said offers “a new, separate space for real-time updates and public conversations.”
In the first five days of its launch, 100 million people had signed up for Threads, according to a post on Threads by Instagram head Adam Mosseri.
Charles “Chuck” Martin Flood Jr., a longtime Nashville business manager who served as a founding owner at FBMM, has died, Billboard has learned. He was 78. Flood was a prominent figure in Nashville for more than 40 years. Early in his career, Flood worked on the label side of the business, serving in A&R and […]
Shares of SiriusXM soared 49.1% this week due to a “short squeeze” related to a trading strategy involving its parent company, Liberty Media. The stock rose 49.1% to $7.08, turning an 18.7% year-to-date loss into a 21.2% year-to-date gain.
On Thursday (July 22), SiriusXM shares increased 42.3% as 128 million shares were traded — about 6.7 times the average daily trading volume. The price fell 9.3% on Friday to close at $7.08 as trading volume reached 132.9 million shares.
As an article at Barron’s explained, SiriusXM, a heavily shorted stock, has benefitted from investors taking a long position in Liberty SiriusXM Group — a tracking that includes SiriusXM — and a short position in SiriusXM. (A short position is a bet that a stock price will decline. A long position is a bet the stock price will increase.) Those positions would benefit if Liberty SiriusXM Group, viewed as an inexpensive alternative to SiriusXM, was able to narrow the gap to SiriusXM. But SiriusXM shares have risen in recent months, turning the short into a losing bet.
Investors who short a stock must buy back borrowed shares to cover their short position. When a stock has a small public float — as SiriusXM does — demand for a limited number of available shares can drive up the price. This isn’t happening just with SiriusXM: Heavily shorted stocks helped the stock market rally in the first half of the year. “As expected, shorts are getting squeezed in these losing trades and we are seeing short covering in these stocks — helping drive stock prices even higher alongside the momentum long buying we are seeing in these stocks,” Ihor Dusaniwsky, managing director of S3 Partners, told Yahoo Finance last week.
SiriusXM was — by far — the best-performing music stock this week, as the Billboard Global Music Index rose 6.8% to 1,447.32, bringing the year-to-date gain to 23.9%. Eight of the index’s 21 stocks were in negative territory, one was unchanged and 12 stocks posted gains this week.
French music streamer Deezer boasted the week’s second-biggest improvement after gaining 10.3% to 2.58 euros ($2.87). On Thursday, the company announced it had renewed its partnership with telecom company Orange, which will continue to drive customer acquisition in its home market. Under the new partnership, Deezer and Orange will offer new customers six free months of Deezer Premium.
Live music companies also had a good week. Shares of Sphere Entertainment Co. gained another 8.9%. German concert promoter CTS Eventim improved 6.9%. And Live Nation shares rose 2.5% after Oppenheimer initiated coverage of the company with a $110 price target, suggesting the stock has a 14% upside from its $96.84 closing price on Friday.
Spotify will raise the price of an individual subscription in the United States by $1 — from $9.99 to $10.99 — according to a report Friday (July 21) at the Wall Street Journal. The move has been widely expected by investors and analysts following numerous comments by Spotify executives about an eagerness to raise the […]
With Taylor Swift’s re-recorded version of Speak Now topping the Billboard 200 albums chart and achieving the biggest week of 2023, the singer has pitted her new versions against the original versions she released through Big Machine Label Group in 2010. That could be seen as another blow for Shamrock Capital, which purchased Swift’s Big Machine catalog in 2020. But if Swift thought her re-recordings would erode the performance of the Big Machine originals, she was wrong — for the most part. The original versions owned by Shamrock did well through 2022 and haven’t shown much clear evidence of attrition until 2023, according to Billboard’s analysis of Luminate sales and streaming data in the United States.
Through 2022, Swift’s Big Machine catalog has performed roughly in line with industry trends. Take Swift’s 2008 album Fearless, for example: It generated on-demand audio streams of 230.5 million in 2019 and 345.3 million in 2022 — an increase of 49.8% over three years. Had the album’s streams grown in line with the industry’s annual growth in on-demand audio streams — 48.3% from 2019 to 2022 —Fearless would have had 341.9 million on-demand audio streams. That’s only a 1% variation.
The original version of Swift’s 2012 album Red did even better than Fearless, generating 283.5 million on-demand audio streams in 2019 and 484.7 million on-demand audio streams in 2022, about 19% greater than what would be expected. Had the album’s streams grown in line with the industry’s annual growth in on-demand audio streams — 17.3% in 2020, 12.7% in 2021 and 12.2% in 2022 — Red would have had 420.6 million on-demand audio streams.
At the same time, Swift’s re-recordings have done phenomenally well. Since the beginning of 2021, the three Taylor’s Version albums have accounted for 3.88 billion on-demand audio streams to the original versions’ 2.86 billion on-demand audio streams. The actual numbers are even more skewed in the Taylor’s Versions’ favor since the re-recordings of Speak Now were released on July 7 of this year and have a brief streaming history. Since 2021, Red (Taylor’s Version) has generated 2.6 times more on-demand audio streams than the original version, while Fearless (Taylor’s Version) has about 1.9 times as many on-demand audio streams.
All the work Swift did to promote her re-recordings, as well as the success of her Republic Records albums and her current U.S. tour, may have also helped sales of the original Big Machine catalog. The original version of Red has sold more albums — 26,000 — through week 28 of 2023 than in all of 2022 and is already close to surpassing sales numbers for calendar years 2019, 2020 and 2021. Speak Now has also surpassed last year’s album sales and is on track to beat annual sales from 2019 to 2021.
Of course, Shamrock does not enjoy the spoils of the three albums of re-recordings. Through week 28 of this year, Speak Now (Taylor’s Version), Fearless (Taylor’s Version) and Red (Taylor’s Version) have sold 2.23 million units in the United States. But these couldn’t be considered sales that were lost to Shamrock. Whether or not Swift re-recorded the three albums, Shamrock would benefit only from the sales of the original versions. And so far, it doesn’t appear the Taylor’s Version albums are crowding those out.
Streaming is a different story, though. There is some evidence that the Taylor’s Version reissues have led to a decline in streams for the original Big Machine albums. In the 18 weeks before the release of Red (Taylor’s Version) on Nov. 11, 2021, the original version averaged 9.7 million on-demand audio streams per week. In the 18 weeks after Red (Taylor’s Version) was released, the original version’s weekly on-demand audio streams declined 41% to 5.7 million.
And despite putting up decent streaming numbers through 2022, the original versions of Fearless and Red have underperformed expectations in 2023. The overall market’s on-demand audio streams grew 13.5% in the first 28 weeks of 2023. Had Fearless matched the market’s growth, the album would have generated about 296 million streams through week 28. Instead, the original version of Fearless had roughly 162 million streams — more than 45% below expectations. Red performed better but was also off the market’s pace. Through week 28, the original version of Red had 181.6 million on-demand audio streams — about 14% below expectations.
While the original versions have held up fairly well in purchases and, until this year, on-demand audio streams, the biggest loss is probably the lack of synch opportunities. Swift’s re-recordings have been used in a Match.com ad in 2020 (“Love Story [Taylor’s Version]”), the movie Spirit Untamed in 2021 (“Wildest Dreams [Taylor’s Version]”) and the movie DC League of Super-Pets in 2022 (“Bad Blood [Taylor’s Version], the only song from the album 1989 that has so far been re-recorded).
Ultimately, however, Swift’s re-recordings may be more responsible for her consumption boom than the original Big Machine versions. Swift’s annual on-demand audio streams more than doubled between 2019 and 2022 — from 3.12 billion to 7.85 billion. If she continues her current pace, her on-demand audio streams will increase more than 74% in 2023. The re-recordings have added to the deafening buzz around her Republic Records albums. The Big Machine originals are merely along for the ride.
Shamrock did not respond to Billboard’s request for comment on this story.
President Joe Biden said Friday that new commitments by Amazon, Google, Meta, Microsoft and other companies that are leading the development of artificial intelligence technology to meet a set of AI safeguards brokered by his White House are an important step toward managing the “enormous” promise and risks posed by the technology.
Biden announced that his administration has secured voluntary commitments from seven U.S. companies meant to ensure their AI products are safe before they release them. Some of the commitments call for third-party oversight of the workings of commercial AI systems, though they don’t detail who will audit the technology or hold the companies accountable.
“We must be clear eyed and vigilant about the threats emerging technologies can pose,” Biden said, adding that the companies have a “fundamental obligation” to ensure their products are safe.
“Social media has shown us the harm that powerful technology can do without the right safeguards in place,” Biden added. “These commitments are a promising step, but we have a lot more work to do together.”
A surge of commercial investment in generative AI tools that can write convincingly human-like text and churn out new images and other media has brought public fascination as well as concern about their ability to trick people and spread disinformation, among other dangers.
The four tech giants, along with ChatGPT-maker OpenAI and startups Anthropic and Inflection, have committed to security testing “carried out in part by independent experts” to guard against major risks, such as to biosecurity and cybersecurity, the White House said in a statement.
That testing will also examine the potential for societal harms, such as bias and discrimination, and more theoretical dangers about advanced AI systems that could gain control of physical systems or “self-replicate” by making copies of themselves.
The companies have also committed to methods for reporting vulnerabilities to their systems and to using digital watermarking to help distinguish between real and AI-generated images known as deepfakes.
They will also publicly report flaws and risks in their technology, including effects on fairness and bias, the White House said.
The voluntary commitments are meant to be an immediate way of addressing risks ahead of a longer-term push to get Congress to pass laws regulating the technology. Company executives plan to gather with Biden at the White House on Friday as they pledge to follow the standards.
Some advocates for AI regulations said Biden’s move is a start but more needs to be done to hold the companies and their products accountable.
“A closed-door deliberation with corporate actors resulting in voluntary safeguards isn’t enough,” said Amba Kak, executive director of the AI Now Institute. “We need a much more wide-ranging public deliberation, and that’s going to bring up issues that companies almost certainly won’t voluntarily commit to because it would lead to substantively different results, ones that may more directly impact their business models.”
Senate Majority Leader Chuck Schumer, D-N.Y., has said he will introduce legislation to regulate AI. He said in a statement that he will work closely with the Biden administration “and our bipartisan colleagues” to build upon the pledges made Friday.
A number of technology executives have called for regulation, and several went to the White House in May to speak with Biden, Vice President Kamala Harris and other officials.
Microsoft President Brad Smith said in a blog post Friday that his company is making some commitments that go beyond the White House pledge, including support for regulation that would create a “licensing regime for highly capable models.”
But some experts and upstart competitors worry that the type of regulation being floated could be a boon for deep-pocketed first-movers led by OpenAI, Google and Microsoft as smaller players are elbowed out by the high cost of making their AI systems known as large language models adhere to regulatory strictures.
The White House pledge notes that it mostly only applies to models that “are overall more powerful than the current industry frontier,” set by currently available models such as OpenAI’s GPT-4 and image generator DALL-E 2 and similar releases from Anthropic, Google and Amazon.
A number of countries have been looking at ways to regulate AI, including European Union lawmakers who have been negotiating sweeping AI rules for the 27-nation bloc that could restrict applications deemed to have the highest risks.
U.N. Secretary-General Antonio Guterres recently said the United Nations is “the ideal place” to adopt global standards and appointed a board that will report back on options for global AI governance by the end of the year.
Guterres also said he welcomed calls from some countries for the creation of a new U.N. body to support global efforts to govern AI, inspired by such models as the International Atomic Energy Agency or the Intergovernmental Panel on Climate Change.
The White House said Friday that it has already consulted on the voluntary commitments with a number of countries.
The pledge is heavily focused on safety risks but doesn’t address other worries about the latest AI technology, including the effect on jobs and market competition, the environmental resources required to build the models, and copyright concerns about the writings, art and other human handiwork being used to teach AI systems how to produce human-like content.
Last week, OpenAI and The Associated Press announced a deal for the AI company to license AP’s archive of news stories. The amount it will pay for that content was not disclosed.
Sales and streams of Jason Aldean‘s single “Try That in a Small Town” have surged, following controversy that erupted this week surrounding the song and its corresponding music video.
After selling around 1,000 copies of the song each day from July 14 through July 17, according to preliminary reports from Luminate, sales rose after Billboard’s July 18 exclusive that CMT had pulled the video. The song earned 12,000 in sales on July 18, before surging to 108,000 in sales on July 19 and 103,000 in sales on July 20. The latest sales total for the week (July 14-20) is 227,000, according to the preliminary reports.
U.S. official on-demand daily streams of “Try That in a Small Town” also exploded over the past week.
After earning 204,000 official U.S. on-demand streams on July 14, and then dipping to 194,000 on July 15 and 174,000 on July 16, streams rose 24.3% to 216,000 on July 17, then surged 178% on July 18 to 600,000. On July 19, U.S. official on-demand streams of “Try That in a Small Town” skyrocketed to 3.2 million, a 440.2% increase.
The sales and streaming spikes come the same week social media commenters began questioning the song’s lyrics and the video’s imagery — with many calling it racist and anti-protest. “Try That in a Small Town” was written by songwriters Kelley Lovelace, Kurt Allison, Tully Kennedy and Neil Thrasher. The video features Aldean performing in front of the Maury County Courthouse in Columbia, Tenn. — the same location where a lynch mob murdered a Black man, Henry Choate, in 1927 — with an American flag hanging from the entrance. The performance is interspersed with footage of a flag burning, protesters screaming and attacking police in various scenarios as well as looting and robbing a convenience store.
Artists including Sheryl Crow and Margo Price have spoken out against Aldean and/or the song and video, while others, including Aldean’s labelmate Blanco Brown, have defended the singer.
Aldean issued a statement on July 18 that read in part, “In the past 24 hours I have been accused of releasing a pro-lynching song (a song that has been out since May) and was subject to a comparison that I (direct quote) was not too pleased with the nationwide BLM protests. These references are not only meritless, but dangerous. There is not a single lyric in the song that references race or points to it and there isn’t a single video clip that isn’t real news footage- and while I can try and respect others to have their own interpretation of a song with music- this one goes too far.”
In the week since it was released, the official music video for “Try That in a Small Town” has now been viewed more than 9 million times on YouTube. On the morning of July 18, before the controversy broke, it had been viewed around 350,000 times.
In terms of radio airplay, on last week’s Country Airplay chart (dated July 15), “Try That in a Small Town” rose one spot from 26-25, though it declined 2% in audience impressions for the week. On this week’s Country Airplay chart (dated July 22), the song holds at No. 25 but gained 16% to 6.5 million audience impressions in its ninth week on the chart.
In April, Myke Towers landed his third top 10 on Billboard’s Top Latin Albums chart with his fourth studio album, La Vida Es Una, which debuted at No. 9 on the tally. It was Towers’ third straight top 10, an impressive showing despite the fact that it landed below his previous album, 2021’s Lyke Myke, which had debuted at No. 3. The 23-track set also boasted a lighter, more island sound, a departure for the Puerto Rican reggaetón star — a versatile artist who can definitely sing, but who is best known for party reggaetón tracks and hard-hitting lyrics on his trap fare.
La Vida Es Una included collaborations with reggaetón giants like Ozuna, J Balvin and Daddy Yankee, who is featured on the first focus track, “Ulala,” which hit No. 1 on Billboard’s Latin Airplay chart. But the set’s biggest success has come not via a collaboration, but with a solo track — “Lala,” a lilting, romantic reggaetón whose chorus plays over a vocal loop of “Lala, lala, lala,” turning it into an irresistible invitation to dance.
So irresistible, in fact, that this week, a full four months after the album’s release, “Lala” surged from No. 13 to crown Billboard’s Global Excl. U.S. chart (dated July 22), becoming Towers’ first leader on the list.
The song’s rise has been remarkable in its swiftness. “Lala” entered the charts for the first time when it debuted at No. 25 on Latin Rhythm Airplay less than two weeks ago. Last week, it debuted at No. 50 on Hot Latin Songs, at No. 26 on the Billboard Global 200 and at No. 13 on the Billboard Global Ex-U.S. chart. Then, in a single week, it shot to No. 1 on the latter.
How did this happen? “Music discovery has no time frame, and once a track gets into the online conversation it’s our job to jump in and maximize that buzz to turn it into a hit,” says Alejandro Duque, president of Warner Music Latin America, who has oversight of the label’s U.S. Latin and Latin American operations. Duque, who took over the job two years ago after 19 years with Universal, is, at 40, the youngest head of a Latin multinational music company. He’s also been firmly embedded in the digital landscape, an area he’s worked in since the early 2000s when Latin music began its digital transition. That intimate knowledge has allowed him to deeply mine data to bolster hits.
“Everyone has the same data,” he told Billboard last year. “You have to know how to interpret it. Having experience in data tendencies and how consumers behave lets you apply that to marketing and release strategies.”
Duque’s successes interpreting data include Anitta’s “Envolver” and, most recently, Yng Lvcas’ “La Bebe Remix” featuring Peso Pluma, which topped the Latin and Latin Rhythm Airplay charts and has spent 20 weeks on the Global 200 chart, peaking at No. 2. In Towers’ case, the success is particularly sweet because the artist had three previous top 10s on the Global Ex-U.S. chart, all collaborations. To get to the No. 1 spot solo is a feather on Duque’s cap, in tandem with Towers’ joint management team, with Orlando Cepeda and Brandon Silverstein sharing duties through their separate offices. And it earns Duque the title of Billboard’s Executive of the Week.
Here, Duque spoke to Billboard about how this “Lala” of a love song became a global success in a single week.
La Vida es Una came out in March. Why is “Lala” rising to the top four months later?
In mid-June, a micro-influencer posted a CapCut filter with “Lala’s” audio, which kicked things off. That post was organically picked up by a couple of major influencers, which led to even more users making their own creations with it — right now, we’re seeing thousands of creations daily. This was an enormous music discovery opportunity. People weren’t just listening to the snippet on social media, they started searching for the track on streaming platforms and fully engaging with it.
When did you realize “Lala” was a hit in the making?
We see tracks going viral on social media on almost a daily basis, but not all of them lead to an effect on streaming. The way we see it is that TikTok and other social media platforms help generate awareness and buzz around the songs — and it’s all about creating the curiosity that will get people wanting to explore more and listen to the music or watch the music video. Once people are exposed to the song, it becomes about whether they will like it, share it and keep engaging with it. Once we saw “Lala” started translating very quickly from TikTok creations to YouTube views and audio streaming, we knew people were connecting to the song itself and not just the trend.
Are there any specific countries that led the charge?
The micro-influencer that helped kick off the CapCut trend is from Chile, which was one of the key countries that led the initial growth. Spain has been a key country for the song since its release, and it was also one of the first countries to see the growth alongside the trend. After that, we started seeing numbers come up in Colombia, Peru, Mexico and then the U.S. We’re now seeing the track expand to other parts of Europe and gaining new chart positions in countries like Italy and Switzerland. We strategically use data to understand the growth trajectory and which countries we should impact next, as each song has its own trajectory and requires a customized strategy.
What exactly do you do?
Music discovery has no time frame, and once a track gets into the online conversation it’s our job to jump in and maximize that buzz to turn it into a hit. It’s a very similar strategy we used with Yng Lvcas and Peso Pluma’s “La Bebe Remix,” where we identified which countries were connecting with the song first — through consumption data, but also social listening and engagement — and kept expanding our targets until the track hit No. 2 globally.
Did you have a global strategy with the song?
Yes. We always approach key releases with a regional and global strategy, and we rely on data to adjust as we go. Our strategy here started before La Vida Es Una’s release, with teaser and album launch campaigns across countries where Myke has a strong audience, especially the U.S., Latin America and Spain. After release day, we’re constantly monitoring how fans are engaging with the music on different platforms. That’s why we were able to identify what started out as a small trend so quickly and were able to jump into action and maximize the growth as much as possible.
“Lala” is not simply reggaeton; it has a swaying island vibe, too. What does this signal in the evolution of urban Latin music?
For a while, reggaeton was the Latin genre dominating the global charts. This year, we’re seeing different types of Latin songs connecting with a global audience — from songs like “Lala,” which has a more island sound, to “La Bebe Remix,” which is a Mexican reggaeton track reaching No. 2 on Spotify’s Global Chart and the Billboard Global 200. The Argentinian urban movement is also making an impact. We have a massive record with “Los Del Espacio,” a song from Lit Killah with seven other key Argentine artists including Maria Becerra and Tiago PZK. The track reached No. 17 on the Billboard Global 200. People have talked about the explosion in Latin music for years, and rightfully so, but today we are really seeing an unprecedented diversity in the hits coming from across the region.
What comes next for Myke Towers?
We’re very excited, there’s a lot of surprises coming up. From big general market collaborations to a few Latin ones, we continue to focus on building his reach and audience and growing his fan base every day.