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For fans who have been begging Jack Harlow to release the full song inspired by his viral snippet posted to TikTok, the wait is over. “Lovin on Me,” which samples R&B singer Delbert “Dale” Greer’s 1995 track, “Whatever,” in the hook, is set for release on Friday (Nov. 10), the 25-year-old rapper announced on Instagram. […]
When artists announce a new tour, ticket sales tend to exhibit a pattern: An initial surge of fan enthusiasm followed by a gradual decline in interest.
So, Tim Collins, who manages the Swedish artist Benjamin Ingrosso, was surprised to see demand for tickets to see his client increase throughout his summer tour. “At the beginning of the tour, we hadn’t sold out,” Collins says. “With every show we did, interest in him became bigger. And it was mainly because of how TikTok talked about him throughout the tour.”
TikTok marketing has been a central part of promoting music for more than three years at this point, almost entirely reshaping record labels’ strategy. When the platform started to regularly mint hit singles in 2020, however, the concert business was mostly shut down due to the coronavirus pandemic and shows didn’t get the same sort of attention.
This year, though, TikTok has become the new frontier for marketing tours. “Traditional promoters are starting to really wake up to it,” says Sanu Hariharan, co-head of music partnerships at Creed Media, a marketing company focused on Gen Z.
“It’s opened up a new revenue model for me,” adds Johnny Cloherty, co-founder of the digital marketing company Songfluencer. “A lot of the heavier touring acts are interested in, ‘I’ll pay a handful of creators to come to my VIP section to film content with me backstage to help sell tickets.’ We can get influencers to talk about the merch and do promotion that way.”
What took so long? “In general, live music lags behind the rest of marketing,” according to William Van Orsdel, chief growth officer of the live promotions company Breakaway. “Larger companies out there can’t change the way they’ve been doing things because they’ve always been doing them that way” — relying on tried-and-true techniques like print advertisements, billboards and posters.
Sure enough, Cloherty says when he pitched live music companies on using modern TikTok marketing techniques in 2019 and 2020, he “got laughed out of the room.” “People were like, ‘No way are you going to do this,’” he recalls. But, Van Orsdel continues, “you can’t market in just one silo and expect to be successful.”
The saturation of the post-COVID touring market has also spurred artist managers and event promotion companies to try new concert-marketing techniques. Prices are high; competition for fans is fierce. “The interest in seeing shows is bigger than ever before,” Collins says. “But at the same time, the financial situation is worse than ever before in regards to what you actually can afford to go to. To win a fan, you really have to stand out.”
On top of that, labels have started to see that a tour with buzz leads to streaming gains for the artist on the road, which ultimately helps the record company’s bottom line. Labels don’t participate in artists’ touring income — unless the artist has signed a “360 deal” — which often disincentivizes them from investing in their acts’ live business. “What they’ve realized is that there’s a correlation between having a tour or a set of shows that are relevant and streaming,” Hariharan says.
“Touring goes hand in hand with cultural significance,” adds Andy Serrao, president of Fearless Records. “The moments that are created on touring or in festivals, those don’t just happen and go away. We don’t participate in our artists’ touring revenue, but what we can do to drive the rest of our marketing going into releasing new music is huge.”
Those “moments” from a show depend a lot on the charisma of the artist on stage, of course. “If people are seeing you live and not filming you, that’s a bad sign,” Serrao says.
But marketers can work to make sure that anything exciting that happens is talked about by as many people as possible. “Having influencers at the show is the most important piece of it, because they are really essentially megaphones for the tour,” says Laura Spinelli, digital marketing manager at Shopkeeper Management. “Within the past year, this has become something that we’ve devoted a more significant budget to” for artists like Miranda Lambert and Tenille Townes.
Creed Media recently ran a two-week campaign in Europe for the group Chase Atlantic, using influencers to “create and convey a sense of hype and FOMO around the experience of going to their show,” Hariharan explains. “We wanted to do this early in the tour so that we’re getting consistent relevance and engagement as the tour progresses.” The most successful post — about a guy who takes his girlfriend to see Chase Atlantic — earned nearly 3 million views.
Demand for this sort of marketing is on the rise. “It feels very similar right now to a few years ago when we were trying to convince our label partners to really see the value in influencer marketing for their releases,” Hariharan. “Talking about what we can do for live and touring is a fresh new thing.”
“I’ve gone to a lot of country labels and management companies with this,” Cloherty adds. “Entering 2023 marketing anything without an influencer plan doesn’t seem like it’s very holistic, and that’s especially true if you’re trying to get a younger audience.”
MNTGE, a vintage clothing brand that integrates blockchain technology into its garments, partnered with Grimes‘ Elf. Tech initiative for a limited-edition merch collaboration. The deal will encompass vintage, one-of-one NFC chip-enabled vintage t-shirts and denim jackets, screen-printed with AI graphics designed by Grimes on the back and an Elf. Tech graphic screen-printed on the sleeve. The NFC chips will provide both a digital rendering of the garment and a certificate of authenticity, as well as the ability to preview new music from Grimes by scanning the chips on a smartphone. The Grimes + MNTGE jacket retails for $200 and the t-shirt retails for $50 here.
In other Grimes-related news, CreateSafe — the company whose Triniti API powers Grimes’ Elf.Tech platform — partnered with music technology platform Slip.stream to make more than 200 GrimesAI songs available to creators and fans in their video content and live-streams on any platform. Grimes unveiled the Elf.Tech platform in beta this past May, allowing fans to create and upload songs by cloning the singer’s voice.
DistroKid struck an expanded agreement with TikTok that will make music from artists distributed by DistroKid available across CapCut and TikTok’s Commercial Music Library as well as its recently unveiled social music streaming service TikTok Music, which is now available in Brazil and Indonesia and in beta in Mexico, Australia and Singapore. This is the first time music from DistroKid artists will be available on TikTok Music.
Additionally, DistroKid partnered with digital audio workstation FL Studio to distribute works uploaded to FL Cloud — described as a new service within the FL Studio 21.2 update that will offer producers a growing library of royalty-free loops and one-shots, unlimited AI-powered mastering and unlimited music distribution to all major digital streaming platforms.
Esports company GameSquare Holdings entered into a “definitive agreement” with FaZe Holdings to acquire online gaming and youth culture brand FaZe Clan “in an arm’s length all-stock transaction,” according to a press release. The release states that FaZe Clan and GameSquare generated annual revenue of roughly $138 million and reached a 26.3% gross margin last year. “Management expects to realize over $18 million in run-rate cost savings from the FaZe Clan acquisition, supported by reduced duplicate corporate costs and other cost savings,” the release continues. The combined company plans to give guidance following the close of the transaction, after which Richard “FaZe Banks” Bengtson will take over as FaZe Clan CEO; Thomas “FaZe Temperrr” Oliveira will take over as president; and Yousef “FaZe Apex” Abdelfattah will take over as COO. The transaction is expected to close in the fourth quarter of 2023, subject in part to the approval of FaZe Clan and GameSquare shareholders.
The Circuit Group, a recently formed entity designed to create business opportunities around artists’ intellectual property, signed a strategic partnership with U.K.-based house music label Defected Records. Under the deal, The Circuit Group will offer Defected, along with its sister- and sub-labels, expertise across its suite of services to help the label build its presence in North America. In turn, Defected will support The Circuit Group as it expands its presence in the United Kingdom, Europe and other territories globally.
Defected Records also signed an agreement with Reactional Music, the maker of an interactive music engine for video games. Under that deal, Defected licensed the masters for a selection of tracks from its catalog for use on Reactional’s music delivery platform and personalization engine for game developers. Songs to be made available under the deal include cuts from Bob Sinclar, Dennis Ferrer, Kings of Tomorrow, MK and The Shapeshifters, CamelPhat, Honey Dijon and John Summit.
Michael Bublé launched Fraser & Thompson, a new whiskey brand in partnership with longtime friend and master distiller and blender Paul Cirka. The whiskey is blended and bottled by Heaven Hill in Bardstown, Ky. and will be brought to market by spirits incubator WES Brands.
Warner Music’s ADA renewed its longstanding partnership with independent label LAB Records, which has released music by artists including Tommy Lefroy, BEKA, Beach Weather, Antony Szmierek, Des Rocs, Aziya, Crawlers, The K’s, Nell Mescal and Yoke Lore.
Sphere Entertainment partnered with Madison Square Garden Sports on a deal that will see next-generation Las Vegas venue Sphere become the official jersey patch partner of the New York Knicks. The Sphere logo will now appear on all Knicks game jerseys during both home and away games in the 2023-24 season; it will also be on Knicks practice jerseys, warm-up shirts and jerseys sold at Madison Square Garden’s in-arena retail locations as well as on shop.MSG.com.
Copyright management firm Pex and its rights initiative, RME, entered a collaboration with copyright protection platform Cosynd. Under the partnership, RME’s community of creators and rightsholders can utilize Cosynd’s copyright registration API to register their works with the U.S. Copyright Office.
ASM Global struck a partnership with Adventist Health that will see the California City of Stockton’s 10,000-seat facility renamed Adventist Health Arena. Upgrades to the arena will include a new 360-degree LED center-hung, ribbon boards, back-of-house enhancements and more.
Elsewhere, ASM Global signed a deal with the City of Andover, Kans., to manage and operate the Capitol Federal Amphitheater for five years beginning on Jan. 1, 2024. It also renewed its management agreement with the Jekyll Island Convention Center in Jekyll Island, Ga. through 2029, with an option for an additional five-year renewal after that.
In the TikTok era, homemade remixes of songs — typically single tracks that have been sped up or slowed down, or two tracks mashed together — have become ever more popular. Increasingly, they are driving viral trends on the platform and garnering streams off of it.
Just how popular? In April, Larry Mills, senior vp of sales at the digital rights tech company Pex, wrote that Pex’s tech found “hundreds of millions of modified audio tracks distributed from July 2021 to March 2023,” which appeared on TikTok, SoundCloud, Audiomack, YouTube, Instagram and more.
On Wednesday (Nov. 1), Mills shared the results of a new Pex analysis — expanded to include streaming services like Spotify, Apple Music, Deezer, and Tidal — estimating that “at least 1% of all songs on [streaming platforms] are modified audio.”
“We’re talking more than 1 million unlicensed, manipulated songs that are diverting revenue away from rightsholders this very minute,” Mills wrote, pointing to homemade re-works of tracks by Halsey or One Republic that have amassed millions of plays. “These can generate millions in cumulative revenue for the uploaders instead of the correct rightsholders.”
Labels try to execute a tricky balancing act with user-generated remixes. They usually strike down the most popular unauthorized reworks on streaming services and move to release their own official versions in an attempt to pull those plays in-house. But they also find ways to encourage fan remixing, because it remains an effective form of music marketing at a time when most promotional strategies have proved toothless. “Rights holders understand that this process is inevitable, and it’s one of the best ways to bring new life to tracks,” Meng Ru Kuok, CEO of music technology company BandLab, said to Billboard earlier this year.
Mills argues that the industry needs a better system for tracking user-generated remixes and making sure royalties are going into the right pockets. “While these hyper-speed remixes may make songs go viral,” he wrote in April, “they’re also capable of diverting royalty payments away from rights holders and into the hands of other creators.”
Since Pex sells technology for identifying all this modified audio, it’s not exactly an unbiased party. But it’s notable that streaming services and distributors don’t have the best track record when it comes to keeping unauthorized content of any kind off their platforms.
It hasn’t been unusual to find leaked songs — especially from rappers with impassioned fan bases like Playboi Carti and Lil Uzi Vert — on Spotify, where leaked tracks can often be found climbing the viral chart, or TikTok. An unreleased Pink Pantheress song sampling Michael Jackson’s classic “Off the Wall” is currently hiding in plain sight on Spotify, masquerading as a podcast.
“Historically, streaming services don’t have an economic incentive to actually care about that,” Deezer CEO Jeronimo Folgueira told Billboard earlier this year. “We don’t care whether you listen to the original Drake, fake Drake, or a recording of the rain. We just want you to pay $10.99.” Folgueira called that incentive structure “actually a bad thing for the industry.”
In addition, many of the distribution companies that act as middlemen between artists and labels and the streaming services operate on a volume model — the more content they upload, the more money they make — which means it’s not in their financial interest to look closely at what they send along to streaming services.
However, the drive to improve this system has taken on new urgency this year. Rights holders and streaming services are going back and forth over how streaming payments should work and whether “an Ed Sheeran stream is worth exactly the same as a stream of rain falling on the roof,” as Warner Music Group CEO Robert Kyncl told financial analysts in May. As the industry starts to move to a system where all streams are no longer created equal, it becomes increasingly important to know exactly what’s on these platforms so it can sort different streams into different buckets.
In addition, the advance of artificial intelligence-driven technology has allowed for easily accessible and accurate-sounding voice-cloning, which has alarmed some executives and artists in a way that sped-up remixes have not. “In our conversations with the labels, we heard that some artists are really pissed about this stuff,” says Geraldo Ramos, co-founder/CEO of the music-tech company Moises. “They’re calling their label to say, ‘Hey, it isn’t acceptable, my voice is everywhere.’”
This presents new challenges, but also perhaps means new opportunities for digital fingerprint technology companies, whether that’s stalwarts like Audible Magic or newer players like Pex. “With AI, just think how much the creation of derivative works is going to exponentially grow — how many covers are going to get created, how many remixes are gonna get created,” Audible Magic CEO Kuni Takahashi told Billboard this summer. “The scale of what we’re trying to identify and the pace of change is going to keep getting faster.”
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North West pays tribute to her dad Ye aka Kanye West’s Graduation album by dressing up as the “Dropout Bear” mascot for Halloween.
On Saturday morning (Oct. 28), North West shared a video to the TikTok account that she shares with her mother Kim Kardashian. The video begins with the 10-year-old facing the camera operated by her mother, showing off how much she resembles her father, Ye aka Kanye West before donning the head of the “Dropout Bear” costume and dancing around to a sped-up version of “American Boy,” the 2007 smash hit by Estelle which featured Ye.
There were two other posts on the popular social media platform featuring the preteen in the costume. One showed her singing and dancing to “I Wonder,” from the Grammy Award-winning Graduation album and the other featured her dancing nonstop for almost a minute in full costume to “Can’t Tell Me Nothing.”
The costume itself is the one from West’s third album, Graduation, which showed the “Dropout Bear” mascot decked out in dark denim jeans, a blue and gray varsity jacket and a “Jesus piece” chain. The artwork of the bear was done by Japanese artist Takashi Murakami. The mascot became famous after being featured on the cover of West’s debut album The College Dropout in 2004.
It’s not the first time that North has paid homage to her famous father. Earlier this year, she showed off an outfit featuring a Ralph Lauren long-sleeved rugby shirt with blue and orange stripes similar to what Ye wore at the time of The College Dropout’s release. The spooky season of Halloween has seen North West and her siblings honor other notable music artists in the past. Last year, she dressed as the late singer Aaliyah wearing a full ensemble by Tommy Hilfiger while Saint dressed up as Snoop Dogg. Chicago dressed like the singer Sade, and Psalm sported a costume inspired by the late Eazy-E.
Mitski’s “My Love Mine All Mine” is No. 1 on the TikTok Billboard Top 50 for a third straight week, while a slew of debuts appear in the top 10 of the Oct. 28-dated chart. Tetris Kelly:Mitski holds on tight to No. 1, but there are four new debuts in the top 10. “My Love […]
TikTok is continuing its foray into the music world by announcing TikTok in The Mix, its first-ever live global music event for fans. Cardi B, Niall Horan, Anitta and Charlie Puth are all set to headline the event, which will take place on Dec. 10 at Sloan Park in Mesa, Ariz. Additionally, rising stars Isabel […]
TikTok has launched TikTok Music, its new premium-only music streaming service, in Australia, Singapore and Mexico. The news arrives just months after the company announced its closed, beta version of the streamer for those three territories in July.
As part of the launch, TikTok Music is adding in new features like Party It (a personalized collaborative listening feature), FYP Tuning (swipable music discovery tool, letting users choose different musical scenes and moods), and Tonik (a music discovery personal assistant that is powered by Open AI’s ChatGPT).
With Tonik, users can search for an artist, track or playlist, ask about concerts and music news, learn about the stories behind the music and more.
The new streaming service has not yet made it to most of the major music markets around the world, including the U.S., but its interest in combining social media savvy with music listening could make it a strong new competitor to the established services like Spotify, Apple and Amazon as it expands worldwide.
Already, TikTok as a social platform has wielded great influence over the incumbent streamers. For example, Spotify announced earlier this year that they would integrate a new vertical, swipe-able discovery feed into their app, sparking comparisons to the short-form video app. Spotify also recently recruited some of TikTok’s most popular music influencers – like Ari Elkins and Dev Lemons – to help popularize its now-defunct live audio app, Spotify Live.
Other new features on the app include:
Sync With TikTok: sync your TikTok and TikTok Music accounts to enjoy songs from the social app
Play TikTok Hits: Stream the full versions of TikTok viral songs
Seamless Music Discovery With TikTok: Record your music discovery journey in TikTok and explore the songs in TikTok Music
Discover More Personalized Music: Swipe up and down to explore songs just for you
Discover New & Emerging Artists: Find your new favourite artist
Find Your Music Community: Express yourself through comments, enjoy behind-the-scenes stories, and connect with like-minded music lovers
Sing Along With Real-Time Lyrics: Sing and rap with built-in lyrics that play automaticallyCo-create collaborative Playlists with Friends: Making music better together
Import your Music Library: With just one click, import external playlists and play them through TikTok Music
Name That Song: identify any song you’re listening to with Song Catch
“We are pleased to publicly launch TikTok Music, a new kind of service that combines the power of music discovery on TikTok with a best-in-class streaming service. TikTok Music will make it easy for people to save, download and share their favourite viral tracks from TikTok,” says Ole Obermann, global head of music business development, TikTok. “We are excited about the opportunities TikTok Music presents for both music fans and artists, and the great potential it has for driving significant value to the music industry.”
One of the key themes to emerge from Billboard Latin Music Week in Miami earlier this month was the undeniable and unstoppable rise of Mexican music — a trend that’s being powered by the TikTok generation.
In an era marked by a global surge in music consumption, the revival of Latin music in the United States is nothing short of spectacular. Data from the RIAA paints a compelling picture, showing U.S.-based Latin music revenues have increased by 15% year on year to reach a record high of $627 million in the first half of 2023, accounting for 7.5% of market share. When we reflect on numbers from the first half of 2021, the leap of 52% over these two years is particularly striking. The primary impetus for this is the growing audience tuning in to Latin music on ad-supported on-demand music streaming services. This is remarkable growth in a genre characterized by non-English language songs.
The rise of reggaeton in particular has been nothing short of meteoric. The commercial success of the likes of Bad Bunny, J Balvin and Karol G has left an indelible mark on the Latin music landscape. However, it’s important to note that Latin music’s appeal isn’t confined to a single genre.
TikTok has evolved into a hub for music discovery for millions of fans worldwide, with many trending songs on the platform often ending up on the Billboard Hot 100 or Spotify Viral 50. According to Luminate, 67% of the app’s users are more likely to seek out songs on music streaming services after hearing them on TikTok.
So what trends are we now seeing in Latin music? The short answer: Mexican music is leading the charge.
Over the past 12 months alone, Mexican music has experienced more than 83 billion views on TikTok worldwide, with a third of these coming from the United States, according to hashtag research the team and I have conducted in-house at Round. In that time, Mexican music has emerged as the fastest-growing genre on the platform with an astounding 322% surge in popularity, compared to electronic music (122%), rock/indie (96%), reggaeton (90%) and rap/hip-hop (87%). Mexican music stands as the third-largest genre on TikTok in terms of viewership in the U.S., with more than 27 billion views over the past 12 months, behind only rap/hip-hop and K-pop.
Artist after artist has emerged from the Mexican music scene to take TikTok by storm — from Natanael Cano and Yng Lvcas to Fuerza Regida and Grupo Frontera. However, one in particular is paving the way: Peso Pluma.
Thanks to Eslabon Armado’s viral TikTok hit “Ella Baila Sola,” on which Pluma is featured, the rising star has emerged as one of Mexico’s most exciting breakthrough artists. The track not only hit No. 1 on the Billboard Global 200 chart, where it held for six weeks, but it also secured a No. 4 spot on the all-genre Hot 100 — an unprecedented feat for a regional Mexican song. Plus, it dominated Hot Latin Songs for 19 consecutive weeks, the longest run at No. 1 for a regional Mexican track since the tally’s inception in 1986. The song has generated 525.5 million on-demand official streams in the United States to date, according to Luminate. Moreover, “Ella Baila Sola” reached No. 1 on the overall Streaming Songs chart, becoming the first regional Mexican song to lead the list and the first No. 1 on the chart for both acts.
The undeniable catalyst in this success story has been TikTok, where Pluma has gained over 30 billion views in just 12 months and inspired over 5 million creations on the platform. In April, four of Pluma’s tracks dominated the list of top trending Latin songs on the platform in the United States.
The appeal of regional Mexican music is further broadening as tastemakers continue to upload educational videos about the genre to TikTok and Instagram Reels. That trend is helping to nurture a deeper connection to the genre, fostering long-term engagement and powering it to new heights.
So what lies on the horizon?
Round’s analysis of TikTok hashtags reveals a treasure trove of uncharted music cultures and sub-genres waiting to be discovered. For example, views of #sertanejo, a Brazilian sub-genre of traditional music, have doubled from 15 billion to 30 billion over the last 12 months globally. That nearly rivals #reggaeton, which received 33 billion views globally across TikTok over the same period.
As new trends arise, one thing remains certain: TikTok is a powerful force for promoting diversity in music and opening up international markets for local sounds. Its global reach has ushered in an era where artists can easily have their music heard by millions. Now, it’s no longer a question of if artists, record labels, brands and influencers are on the app — it’s about how they maximize its power to the fullest. The stage is set, and the world is listening.
Ray Uscata is managing director of Round, North and South America. Round is a tech-enabled digital agency using content, creators and communities to place the world’s leading brands and artists at the center of culture.
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Oysters are a delicacy enjoyed by many across the world, and a new spot in Atlanta might have to find itself a new haul after a video highlighting the restaurant went viral. What has some on social media flabbergasted is that the young lady threw down four dozen oysters during a date she seemingly didn’t want to go on.
TikTok user EquanaB shared a video to her TikTok account highlighting Fontaine’s Oyster House, a popular seafood restaurant in Atlanta. Opening her video by saying that she was meeting with a man she ignored for weeks simply out of boredom, EquanaB documents her date night and devouring of oysters, complete with slurping sounds and breakdowns of how good the food was.
We’re never going to shame a young woman for getting it how she lives but what folks online are completely shocked by is the fact that EquanaB probably wiped out Fontaine’s inventory in one night. Granted, the oysters with $15 per dozen so her date wouldn’t have had to shell out too much for the one-sided date.
Speaking of, the true plot twist, granted if this is an actual true story, is that her date ditched her at Fontaine’s and left her with the bill. With folks always looking to go viral and the fact folks have been duped before, we caution readers to take all of this information with a grain of salt.
Again, as users on X, formerly Twitter, have shared, 48 oysters are overdoing it to the max. We just hope that EquanaB’s insides are okay after taking down that much seafood on top of lemon drop martinis, potatoes, and crab cakes.
Check out the X reactions and video below.
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Photo: JacquesPALUT / Getty