spotify
Page: 15
BLACKPINK’s 2020 smash hit, “How You Like That,” continues to break records four years after its release. The track has officially reached one billion streams on Spotify, marking the first-ever K-pop girl group to reach the milestone. The song is now available to stream on Spotify’s Billion Streams Club playlist. BLACKPINK, featuring members Jisoo, Rosé, […]
HipHopWired Featured Video
Source: Spotify / Spotify Music Videos Feature
Spotify is finally getting a feature it should have had: the ability to instantly watch music videos.
Today, Spotify announced that its music video feature is rolling out in “beta” and will feature a “limited catalog” in 11 markets.
As for the supported artists, Spotify users can see videos from Ed Sheeran, Doja Cat, Ice Spice, Aluna, and Asake. Per Techcrunch, the company’s global head of consumer experience, Sten Garmark, says that users can expect Spotify’s entire music video catalog to include “thousands” of songs.
Per Spotify:
“So many times in my own experience and for countless others, music videos play a key role in hooking you: taking you from being a listener to leaning in and becoming a fan,” says Charlie Hellman, Vice President and Head of Music Product at Spotify. “They’re an important part of so many artists’ tool kits, and it’s a natural fit for them to live in the same place that more than half a billion people choose to listen to music.”
Users can access the music videos by hitting the “Switch to Video” icon above the song title for the songs supported by the feature.
When you hit the icon, the track will restart, and the video will appear in the center of the screen. You can flip your Android or iOS device to switch the aspect ratio to full screen.
The feature will also be available on desktop and the Spotify smart TV app, and it is currently live in the UK, Germany, Italy, the Netherlands, Poland, Sweden, Brazil, Colombia, the Philippines, Indonesia, and Kenya.
Genmark says those markets specifically chosen were “based on a number of criteria, including market size and the availability of local content support.”
Neil Young is bringing his music back to Spotify more than two years after requesting its removal from the platform, the singer-songwriter announced Tuesday (March 12).
In January 2022, Young published an open letter asking Spotify to pull down his catalog, citing what he called the spread of vaccine misinformation on the wildly popular Joe Rogan Experience podcast, which was then hosted exclusively on the streaming platform. Several other artists, including Joni Mitchell, Indie.Arie and Young’s Crosby, Stills, Nash & Young bandmates David Crosby, Stephen Stills and Graham Nash, subsequently followed suit, though CSN/CSN&Y and Arie’s music have since been restored to the service; Mitchell’s catalog remains absent.
In a new post on his Neil Young Archives website, the legendary artist said the end of Spotify’s exclusive deal with Rogan led to his decision to restore his music to the service. “My decision comes as music services Apple and Amazon have started serving the same disinformation podcast features I had opposed at Spotify,” the post reads – a clear reference to the Joe Rogan Experience, though Young never mentions it by name.
Trending on Billboard
“I cannot just leave Apple and Amazon, like I did Spotify, because my music would have very little streaming outlet to music lovers at all, so I have returned to Spotify, in sincere hopes that Spotify sound quality will improve and people will be able to hear and feel all the music as we made it,” Young continued, before shouting out Qobuz and Tidal, where his catalog also lives, as “High res” streaming options.
Young concludes his post by stating his hope that Spotify “will turn to Hi Res as the answer and serve all the music to everyone. Spotify, you can do it! Really be #1 in all ways. You have the music and listeners!!!! Start with a limited Hi res tier and build from there!”
Spotify announced plans to roll out a HiFi tier in February 2021, though those plans have yet to come to fruition. In June 2023, Bloomberg reported the streaming giant would finally launch the product later in the year, but the company declined comment when reached by Billboard – and the calendar rolled over without the tier materializing.
Young has long been an advocate of high-resolution audio, even launching his own (now-defunct) high-res audio download platform, Pono, in 2015 before shuttering it two years later.
In September, Billboard estimated that the absence of Young’s catalog on Spotify had cost him roughly $300,000 in lost recorded music and publishing royalties to that point.
At press time, Young’s music catalog had yet to be restored to Spotify, which did not immediately respond to Billboard‘s request for comment.
A dozen years after Spotify launched in the United States and 18 years into the existence of YouTube, streaming music is so ingrained in Americans’ behavior that 91% of the U.S. internet population used a music streaming service in the last year, according to the 22nd edition of MusicWatch’s U.S. Annual Music Study.
According to the report, released Monday (Mar. 11), the number of U.S. subscribers to music services such as Spotify, Apple Music and Amazon Music Unlimited reached 109 million in 2023 — meaning over half of U.S. internet users aged 13 and over now pay for a music streaming service. That number increases to 136 million if SiriusXM and Amazon Prime Music are included. SiriusXM is predominantly a satellite radio service that also has an internet product. Amazon Prime provides music streaming to customers who sign up for Prime for free shipping and other perks.
In 2012, just 56% of Americans used any type of music streaming service. That number jumped to 69% in 2014 and surpassed the 80% mark in 2018. But 2023 was the first time music streamers surpassed 90% of the internet population. MusicWatch counts music streaming on ad-supported audio platforms such as Spotify and Pandora, paid services such as Apple Music, and video services such as YouTube. For the sake of this survey, short-form video platforms such as TikTok and Instagram Reels are not considered to be music streaming platforms.
Trending on Billboard
The number of people who stream music has grown even faster than the proportion of the population that does so. In 2012, the U.S. internet population stood at roughly 125 million. By 2023, it had grown by nearly 60 million to 193 million. The way people access the internet has changed over that period. In the early days of the internet, people mostly had a dial-up home internet connection, but over time, home internet access improved while mobile internet usage exploded.
The prevalence of mobile internet has played an important role in music streaming adoption. Not long ago, MusicWatch principal Russ Crupnick noticed a change in the reasons why people paid for subscription services. Early subscription adopters were heavy users who found value in features such as playlists, connecting to their social networks and recommendations. Then, about five years ago, Crupnick found new subscribers’ reasons for paying a monthly fee started to change.
More recent adopters of paid music streaming services care more about access, not features, says Crupnick. As more people had smart speakers, bluetooth headphones and in-dash entertainment systems in their cars, it was important for services to offer a seamless listening experience as they moved from place to place. “It just works,” he says of subscribers’ rationale for paying. “It works everywhere that I want and works on all of my devices.”
Per-capita spending on recorded music increased 7% from 2022 as music subscriptions, CDs and vinyl all saw double-digit gains. That improvement came from both organic growth and price inflation, says Crupnick. Music subscription services pushed through a string of price increases after keeping their prices mostly untouched for many years — Apple Music in Oct. 2022, Spotify in July, YouTube Music also in July and Amazon Music in August.
Ariana Grande‘s just-released album, Eternal Sunshine, is already setting records. On Saturday (March 9), Spotify announced through social media that the project is the company’s most-streamed album in a single day in 2024 so far.
The 30-year-old Wicked star unveiled Eternal Sunshine, her seventh album, on Friday (March 8), marking her first full-length since 2020’s Grammy-nominated Positions, which spent two weeks at No. 1 on the Billboard 200 albums chart.
Grande entered the Eternal Sunshine era back in January with the release of lead single “Yes, And?” That Max Martin-producer dancefloor-ready banger used house music to kiss off her haters and shimmy to the top of the Billboard Hot 100. Five weeks later, Grande’s latest Hot 100 chart-topper — her eighth overall and sixth to debut in the pole position — received a remix from none other than Mariah Carey.
Trending on Billboard
She has earned eight No. 1 singles on the Hot 100, including “Thank U, Next” (seven weeks), “Save Your Tears” (with The Weeknd, two weeks) and the eight-week leader “7 Rings.” On the Billboard 200, the multi-hyphenate has sent five titles to the chart’s summit, including 2013’s Yours Truly, 2014’s My Everything, 2018’s Sweetener and 2020’s Positions.
In celebration of Eternal Sunshine‘s release, Grande will perform on Saturday Night Live this weekend as the Josh Brolin-hosted episode’s musical guest. Along with the album, she dropped the music video for her next single “We Can’t Be Friends (Wait For Your Love)” on Friday.
Grande is no stranger to receiving accolades from Spotify. Earlier this year, she reflected on the stories behind all 14 of her hits that earned a billion streams on Spotify — the most of any female artist in history.
“thank you so much @spotify for this incredible honor and celebration !” the Victorious album captioned a video on Instagram, in which she shared stories about such hits as “Bang Bang,” “Rain On Me” and “Save Your Tears.” “filming this little episode was such a sweet little commemoration and gratitude meltdown, if you will !!!!! i wasn’t expecting to get emotional but it really, truly hit me!”
See Spotify’s Eternal Sunshine announcement on Instagram below.
Spotify will pass-on the music streaming tax imposed by the French government by hiking its subscription prices in that market.
As previously reported, France’s National Assembly last December approved a so-called “CNM Tax” on streaming brands, the funds from which would finance the national public body, The Centre National de la Musique (CNM), which was created in 2020 and is already partly financed by the live music industry.The tax was predictably decried by the streaming services. For platforms that earn more than 20 million euros ($22 million) in annual turnover — including Spotify, Apple Music and Deezer — a new tax charge of 1.2% would be applied on all streaming revenue generated in France in addition to their existing tax duties. Social media platforms including Facebook and TikTok, which license and feature music, would also be subject to the taxes.
Spotify, the global market leader, said it couldn’t absorb the Macron government’s new costs and would offset them one way or another.After announcing back in December that the streaming giant would pull its financial support to a number of local music festivals, Spotify today (March 7) confirms a price increase for its premium packages – applied only to subscribers in France. Reps from Spotify claim the tax doesn’t add up. This new fee “will generate approximately 15 million euros, when the CNM’s administrative budget (office fees, personnel, capital expenditure, media monitoring or professional training etc.) sits at 20.2 million euros,” reads an open statement issued today.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
“Our concern is that possibly less than half of its overall 146.9 million euros budget will find its way toward effectively aiding music.”Spotify, the message continues, “has proudly championed French artists for the past 15 years; we certainly didn’t wait for the CNM to be created in 2020 to help artists find success in France, and outside of France; to help promote French repertoire and grow the royalty pool for French rights holders. Spotify’s payments have totaled close to 225 million euros in 2022 alone (or about 1/4th of all the French recorded music industry revenues for that year). That is up more than 200% percent since 2017.”The price increase isn’t laid out, though Spotify promises to update its French subscribers over the coming weeks with full details.
Trending on Billboard
“To put it bluntly, all French users will see their subscription plan fee go up,” the message confirms. “French users will now pay the highest subscriptions across the European Union.”
Read Spotify’s open-letter below.
Spotify Premium subscribers in France will soon experience a price increase due to additional costs on music streaming services imposed by the government, as part of the “CNM Tax.” While we worked very hard to encourage the government to avoid adding this tax, unfortunately they decided to move forward.
Perhaps you’ve never heard of the CNM – it’s a public body that commissions studies on the French music industry, and provides financial aid to record labels and the live industry. At the end of 2023, as part of its 2024 budget, the French government decided that digital music streaming services will now have to pay a new tax in order to finance it. Our worry, on top of what would be equivalent to a double payment on our part, has been that this tax will not go directly to artists, nor will it have a tangible output visible to fans; instead, it will simply come at the expense of listeners, and create an additional middleman – the CNM. In fact, this tax will generate approximately 15 million euros, when the CNM’s administrative budget (office fees, personnel, capital expenditure, media monitoring or professional training etc.) sits at 20.2 million euros. Our concern is that possibly less than half of its overall 146.9 million euros budget will find its way toward effectively aiding music.
Spotify has proudly championed French artists for the past 15 years; we certainly didn’t wait for the CNM to be created in 2020 to help artists find success in France, and outside of France; to help promote French repertoire and grow the royalty pool for French rights holders. Spotify’s payments have totaled close to 225 million euros in 2022 alone (or about 1/4th of all the French recorded music industry revenues for that year). That is up more than 200% percent since 2017.
Yet, with the creation of this new tax, Spotify would be required to give approximately two-thirds of every euro it generates to music to rights holders and the French government. Of course, this is a massive amount and does not allow for a sustainable business. As we have long said, we simply can’t absorb any additional taxes. Even after making the difficult decision to reduce our artist marketing budget and support of French music festivals – which is an essential vehicle for Spotify to continue to drive hundreds of millions of euros to the music industry – it still continues to impede our ability to operate in France. Accordingly, over the coming weeks and months, we’ll need to make changes to our price plan in France.
To put it bluntly, all French users will see their subscription plan fee go up. French users will now pay the highest subscriptions across the European Union.
Spotify is increasing prices in France in order to offset these new costs. We’ll come back to our French subscribers over the coming weeks with the full details on the upcoming price increase.
For more information on the global streaming economy, the players, and the process, visit our website Loud & Clear.
More than five decades after its release, Black Sabbath’s “Paranoid” joins Spotify’s Billions Club – an elite collection of works that have accumulated more than one billion streams. Explore Explore See latest videos, charts and news See latest videos, charts and news Recognized as a classic of the heavy metal genre, “Paranoid” is the title […]
Spotify paid out nearly $4.5 billion to independent rights holders in 2023, or roughly half of the more than $9 billion the streaming service paid to all labels and publishers last year, the company announced Tuesday (Feb. 27). The $4.5 billion total marks a new record for the indie sector (which includes DIY artists) and […]
Cumulus Media led all music stocks this week by gaining 20.2% to $4.70 after the radio broadcaster announced it had employed a “poison pill” to ward off a Singapore-based investor.
In January, Renew Group Private Ltd increased its stake in Cumulus Media from 5.2% to 10.01%. To protect the best interests of all Cumulus shareholders, the board of directors explained, the company chose to enact a “limited-duration shareholder rights plan” that would dilute Renew Group’s equity if it exceeds a 15% stake. In justifying the move, Cumulus said Renew Group has investments in other media companies, including a direct competitor to Cumulus.
Music stocks were broadly up this week as the Billboard Global Music Index improved 1.5% to a new high of 1,684.49. The index is up 9.8% in the young year and has gained 38.4% over the past 52 weeks. Of the index’s 20 stocks, 13 finished the week in positive territory, six lost value and one was unchanged.
Trending on Billboard
Stock markets around the world reached new highs this week, too. In the United States, the Dow reached a new closing high of 5,088.80 on Friday (Feb. 23) after surpassing 5,100 for the first time earlier in the day. The Nasdaq composite also reached a new high on Friday and finished the week up 1.4% to 15,996.82. The S&P 500 improved 1.7% to a new closing high of 5,088.80. Japan’s Nikkei 225 index reached an all-time high on Thursday (Feb. 22), finally surpassing the previous record reached in 1989 when the Japanese economy was the world’s envy.
Music streamer LiveOne was the second-best performing music stock of the week after its shares jumped 17.9% to $1.71, bringing its year-to-date improvement to 22.1%. With no other music stocks posting double-digit gains, the next best performance came from Chinese music streamer Cloud Music. Its shares rose 4.1% to 90.95 HKD ($11.63) as Chinese stocks finished the week strong after hitting a five-year low in February. In an attempt to bolster the market, Chinese regulators this week established trading restrictions such as limits on short-selling and institutional investors.
Spotify shares gained another 4.0% this week to close at $256.10, bringing its year-to-date gain to an impressive 36.3% (which has added approximately $13.4 billion to its market capitalization). On Wednesday (Feb. 21), the company announced the creation of a new music advisory agency, AUX, that will connect brands with artists. The inaugural campaign matches Coca-Cola with DJ-producer Peggy Gou in what the company called “a long-term partnership that will span live concerts and events, social media content, a branded playlist, and on-platform promotional support.”
Live Nation shares finished the week up 2.2% to $95.32 and rose 2% on Friday following the company’s encouraging fourth-quarter earnings release. Morgan Stanley raised its price target from $110 to $120 in part because Live Nation said it expects double-digit growth in adjusted operating income in 2024 thanks to a busy touring schedule in its high-margin amphitheaters. “This is going to be a great year,” president/CEO Michael Rapino said during Thursday’s earnings call.
Radio broadcaster iHeartMedia was the index’s biggest loser of the week after dropping 12.5% to $2.32. The company will announce its results for the fourth quarter of 2023 on Feb. 29.
Event discovery platform Bandsintown will be directly integrated into Spotify via a new partnership with the streaming service. The agreement allows artists to directly reach fans through the Spotify app in order to drive stronger engagement and more robust sales for events around the globe. According to Bandsintown, in 2023, the platform increased the number of concerts listed in its database by more than 150,000 year-over-year, while Spotify says it has increased impressions for live events across its platform by 10 times in the last 12 months. – Dave Brooks
Courtesy Photo
Collectibles, toys and apparel company Super7 secured the rights to create a new set of Mötley Crüe action figures featuring all four members of the iconic metal band: Vince Neil, Nikki Sixx, Tommy Lee and Mick Mars. The “ReAction Figures” are 3.75″ tall and retail for $20 each. Super7 has previously designed, manufactured and distributed officially licensed products for artists including Iron Maiden, the Misfits, Ol’ Dirty Bastard and Beastie Boys.
Trending on Billboard
Music financing platform Duetti announced $90 million in new funding, including $15 million in new equity and a new $75 million credit facility. The equity financing is led by Nyca Partners alongside Viola Ventures, Duetti’s lead seed equity investor, and Cohen Circle. The credit facility comes from Northleaf Capital Partners. Duetti allows a wide range of artists to sell master catalogs, individual tracks or parts of tracks, opening up opportunities for those who wouldn’t ordinarily have access to such deals. The new funding will be used to accelerate the growth of Duetti’s catalog acquisitions, the development of the company’s prediction and analytics technology and the expansion of its catalog marketing capabilities. Duetti recently opened offices in New York, Los Angeles and Miami.
Warner Chappell Production Music (WCPM) and Warner Chappell Music (WCM) partnered to launch a new label, Run4Cover, which will pair WCM’s catalog with WCPM’s production expertise to deliver new arrangements of songs in order to minimize licensing complexities for productions and content creators. Run4Cover’s repertoire includes new versions of songs by artists including Radiohead (“Exit Music (For A Film),” “Karma Police”), Curtis Mayfield (“Move On Up”), Kool & The Gang (“Celebration”) and Donna Summer (“Hot Stuff”). The songs are rendered in “diverse styles,” according to a press release, from big band to nu-disco; Run4Cover will also offer custom covers. All Run4Cover compositions are controlled by WCM while the original master recordings are owned by WCPM. Clients will benefit from a streamlined clearance process through a single point of contact. Licensing inquiries can be sent to licensing@warnerchappellpm.com.
AXS and CTS Eventim were appointed the official ticketing services providers for the 2028 Summer Olympic and Paralympic Games in Los Angeles. The two companies will form a joint venture to combine their tech and marketing assets to promote, sell and distribute LA28 tickets globally. Their online storefronts will be made available for the global distribution of Olympics 2028 tickets, which will also be sold through the LA28 website.
ADA Worldwide struck distribution deals with Charlotte, N.C.-based label South Coast Music Group and Valley Entertainment, an indie label with a focus on singer-songwriters, modern Irish artists and World music. Founded by Arnold Taylor, South Coast’s roster includes emerging hip-hop artists including Dustystaytrue, DeeYounginn, Luclover and Big Mali. Valley Entertainment’s catalog includes tracks by David Darling and Jonn Serrie and new recordings from frontline acts including Lisbeth Scott and Squeeze.
OneLand Music Group announced a deal with Create Music Group that encompasses Create’s acquisition of OneLand’s music catalog and a joint venture to release new music, beginning with Atomic Otro Way’s new EP, Dembow 5. “This is a full circle moment for both the Create and OneLand teams,” said OneLand Music Group co-founder Hector Morales in a statement. “In 2019 we partnered with Create to help them sign their first Latin artist. Ever since then, we’ve worked closely with Jonathan [Strauss] and Alex [Williams] to build opportunities for OneLand artists. This venture is a celebration of our shared musical vision and we’re thrilled to be in business with Create’s growing team.”
Music promotion platform Groover announced an $8 million Series A funding round led by investors OneRagtime, Trind, Techmind and MozzaAngels and supported by earlier backers Partech, Bpifrance‘s Tech & Touch fund, Verve Ventures and Frenchfounders. The new funding will help Groover integrate additional services into the platform including promotion, marketing, coaching and career development while supporting the expansion of Groover’s presence in the North American, European and Latin American markets. Launched in 2019 by Dorian Perron, Rafael Cohen and Romain Palmieri, Groover provides artists with the opportunity to network with music industry players to receive feedback on their work. According to a press release, Groover has so far drawn nearly 350,000 independent artists from more than 180 countries and generated more than 4 million personalized reviews.
Music collaboration platform ENGINEEARS closed a $7.5 million seed round led by Drive Capital, with participation from 645 Ventures, Slauson & Co. and FLUS Investment Group, the venture arm of SALXCO. The platform is designed to streamline music collaboration, make payment and project management processes easier and more.
Atlantic Records UK partnered with London-based agency EYC LTD, which specializes in talent and brand management and event planning. Under the deal, Atlantic UK will work closely with EYC to sign and develop artists under a new imprint, EYC Records, while serving as a connection between Atlantic UK’s roster and EYC LTD’s global client base, which includes Louis Vuitton, Prada, Dior, Bentley and Samsung. EYC Records will sign early-stage acts “aligned with the progressive, culture-first ethos of EYC LTD,” according to a press release, working with Atlantic UK and ADA to develop them. The first artist signed to the imprint is Betty, who has already released two singles under the deal: “Mum Says” and “Take Me Under.” EYC Records is also developing the artist project of poet, model and activist Kai-Isaiah Jamal, who will begin releasing music early this year. “I am extremely happy about the launch of EYC Records — a platform to develop the acts we believe in, facilitate brand partnerships in our field of expertise and push our creative visions to the next level,” said EYC LTD director Cora Delaney in a statement.
The Clive Davis Institute of Recorded Music at the NYU Tisch School of the Arts is collaborating with Atlantic Records on a semester-long series of career development workshops and sessions with Atlantic executives, including A&R president Pete Ganbarg. Eight events held at the institute’s Brooklyn location and Atlantic’s Manhattan offices will offer students access to Atlantic executives to learn about opportunities on both the business and artistic sides of the label. It will end with a weeklong songwriting camp led by Atlantic staffer and institute alum Stefan Accardo that will match select students and alumni with Atlantic artists. The partnership kicked off on Feb. 13 with the first of two field trips to Atlantic Records’ New York offices.
Cloud-based end-to-end music rights and royalties administration platform RyteBox acquired SR1, a digitally-native royalty calculation suite, from Exactuals. Joe DeCanio, president/CEO of SR1, along with his team will join RyteBox following the acquisition. SR1 helps to streamline royalty management for its clients, including mechanical licenses and reporting; expense processing; royalty statement generation; deal management; sales and income processing; master licensing and invoicing; and neighboring rights. Those capabilities will serve to complement RyteBox’s current services, which include contract and catalog management; revenue and royalty calculations, statements, and analytics; and relationship management for recorded music and publishing.
NeueHouse, a private workspace and social club for creative workers, has teamed up with the Save the Music Foundation to become the official partner of NeueHouse’s Sunset Sounds live music series. The partnership will kick off with the next Sunset Sounds event on Feb. 22: a listening experience hosted by MGMT where guests will have the opportunity to listen to the band’s new album, Loss of Life, one day prior to release. Going forward, NeueHouse will tap Save the Music for programming opportunities for its various shows, with a portion of the proceeds from each going to fund Save the Music’s various student initiatives.
ASM Global has been contracted to manage and operate Thunder Ridge Nature Arena, a new 18,000-capacity venue in Ridgedale, Mo. ASM has partnered with Live Nation to produce live music events at the outdoor amphitheater, which is slated to open in May.
Oak View Group (OVG) acquired the Stadium Club division from Invited, a leading owner-operator of private golf, country and city clubs in North America. Under the deal, OVG will own and operate Stadium Club properties at universities across the United States; OVG and Invited have also struck a long-term partnership focused on “enhanced membership benefits and uniquely curated experiences for both Invited and OVG club members,” according to a press release. Stadium Club properties include Arizona Sands Club at University of Arizona, Baylor Club at Baylor University, Ken Garff University Club at University of Utah, Texas Tech Club at Texas Tech University, University Club of Virginia Tech at Virginia Tech and the Carolina Club at the University of North Carolina.
Big Machine Label Group and W!ZARD Radio Media entered an agreement to develop and launch a slate of new podcasts. Under the partnership, the two companies will handle production, distribution, marketing, promotion and ad sales functions of the podcast slate. The partnership launches with the sports-comedy podcast A Game of No Halves, hosted by British broadcasting legend “Whispering” Bob Harris and his son Miles Myerscough-Harris. The partnership also encompasses the re-launch of the podcast Songwriter Soup, hosted by songwriter Laura Veltz (“Speechless,” “I Could Use a Love Song”), financial advisor Tracy Hackney and producer Kevin Sokolnicki. – Jessica Nicholson
Primary ticketing and event commerce marketplace Tixr struck a deal with Eden Nightclub Ibiza making Tixr the club’s official ticketing partner. “Tixr’s advanced technological solutions provide a transformative answer to the longstanding challenges faced by nightclubs. From optimizing online ticket sales to implementing unique selling strategies and unlocking revenue streams beyond traditional ticketing, Tixr’s innovation resonates with our commitment to redefining the clubbing experience,” said Rinco Soesman, owner/director of Eden Nighclub Ibiza, in a statement.
Amuse struck an automated integration with YouTube for official artist channels (OACs). Users on Amuse’s Boost and Pro tiers can now request their OAC in a quicker, more streamlined process under the integration, merging all of their subscribers and content from different areas of YouTube into one channel. The YouTube OAC integration will now show as an option within an artist’s profile on the Amuse web app. Additionally, eligible Amuse artists will be granted access to supporting YouTube tools involving analytics, merch, ticketing and more.