Swedish House Mafia are set for another 2019 performance.
Two days still remain before Swedish House Mafia‘s latest countdown timer runs out, but news of another 2019 performance has surfaced. The Creamfields website now displays the iconic three circles found on many of the DJ/producer supergroup’s promotional materials.
Swedish House Mafia previously hinted at a Creamfields performance by hanging up posters bearing the festival’s postcode in Manchester. They’ve employed similar methods to foreshadow similar announcements pertaining to Stockholm, Mexico City and Tel Aviv.
Axwell, Sebastian Ingrosso and Steve Angello reunited for the first time in five years at the 2018 edition of Ultra Music Festival. Over the past couple of months they’ve let 2019 tour dates trickle out, but they have yet to release titles or release dates of the new music they’ve recently promised.
The 2019 installment of Creamfields will take place in Liverpool, England from Thursday, August 22nd through Sunday, August 25th. For more information or to purchase tickets, visit the event website.
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***READ MORE HERE: Creamfields All But Confirms Swedish House Mafia as 2019 Headliners
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By Real EDM — 4 months ago
The Chemical Brothers join deadmau5, Swedish House Mafia and more.
Creamfields is pulling out all the stops for their 2019 edition if their latest string of announcements is any indicator. Following the news that Swedish House Mafia, deadmau5 and Cirez D 🔲 Adam Beyer will perform this year, The Chemical Brothers have been added to the ever-growing list.
The Chemical brothers – an English electronic music duo comprised of Tom Rowlands and Ed Simons – will headline the Horizon stage on Saturday, August 24th. Although the first act announced for the 2019 installment who will not be a U.K. exclusive, their contributions to electronic music culture over the past 20 years makes them just as spirited an addition.
“From DJ sets in that intense backroom and then onto the crazy Courtyard at Cream, from live sets at Speke Airport and in the fields of Cheshire at Creamfields, so many beautiful memories,” said the duo in a joint statement. “We’re excited to make more in August, ‘Free Yourself.’”
Creamfields will run from Thursday, August 23rd through Sunday, August 25th, 2019. For more information or to purchase tickets, visit the event website.
***READ MORE HERE: Creamfields Announces The Chemical Brothers as 2019 Headliner
By Real EDM — 6 months ago
Drive into the city lights with Faul & Wad and Vertue on Spinnin’ Records.
While “faul” means “lazy” in German, Faul & Wad ‘s productions certainly don’t reflect such a trait. The French production duo have mastered out-of-the-box thinking with unorthodox studio tricks. “TOKYO” – their second Vertue collaboration on Spinnin’ Records – showcases their true colors and diversity.
“TOKYO” could easily have been a summer hit for its relatable, catchy vocals. Underlying production elements also evoke mental imagery of the Tokyo city lights. The energy continues through fun elements spaced perfectly throughout, counterbalancing Vertue’s memorable, pitched-up vocals.
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Faul & Wad initially broke onto the scene with their PNAU 2014 collaboration “Changes.” The track was used in a Mercedes Benz commercial for the auto manufacturer’s C-Class line of vehicles. In addition, they’ve gone on to perform at the world’s most lavish festivals, including TomorrowWorld in the U.S., Pukkelpop in Belgium, and Solidays in France.
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***READ MORE HERE: Faul & Wad Team Up with Vertue for Shimmering “TOKYO” on Spinnin’ Records
By Real EDM — 5 months ago
Spotify makes crucial progress towards their goal of enabling one million artists to live off their music.
In March of 2018, Spotify CEO Daniel Ek stated, “Our mission is to enable one million artists to live off their work.”
Ek also noted that over 20,000 artists on Spotify were currently amongst what he referred to as the “top tier” of revenue generation.
With over three million artists on Spotify, this high-earning bracket equates to less than 1% of all artists on the service. That said, Ek’s aspiration of ensuring more musicians earn a living on Spotify appears to be taking shape.
To better understand what is taking place in the world of music streaming, take a look at this graph from BuzzAngle’s newly-issued 2018 industry report:
There are a few key things to notice here, some of which appear troubling at first, but all of which ultimately amount to significant progress in the ability of independent artists to make a living from streaming music royalties. The first thing worth noting, and certainly the most concerning at face-value, is that the top 500,000 tracks on audio streaming services amount to 92.4% of all plays in the 2018 calendar year.
While this is initially disheartening, it’s important to notice that the total number of U.S.-based streams for those top 500,000 tracks increased sharply by a whopping 41.8%, a massive jump in terms of overall streaming revenue generated for rights holders.
Furthermore, in 2017, the remainder of music on the platform (music outside the top 500,000 tracks) made up only 6.4% of the total market share, whereas that same remainder made up over 7.6% of the total market share in 2018.
While this may seem like a very minute increase, a rise of 1.2% market share totaling 36 billion additional streams is no laughing matter, not to mention the fact that this same pattern is mirrored even more drastically across all of the higher-earning revenue tiers (Top 500, Top 5,000, etc.).
What these numbers mean for artists is that the remaining (tracks performing below the top 500,000) were streamed approximately 24 billion times in 2017, increasing to over 40 billion U.S.-based streams in 2018.
Another key metric is that in 2017, the United States’ top 500,000 tracks generated 14.6 times as many audio streams as every other piece of music on the platform. In 2018, however, this multiple decreased significantly to only 12.2x.
While one year of data is certainly no sure indication of change, it does reveal a striking trend that should be a source of great hope for independent artists and labels everywhere.
“My ambition is we want artists to be able to afford to create the music they want to create, and if it takes them five years to sit down and make the album they want to make, they should be able to afford that,” said Ek. “*That’s my goal.”
These numbers hint at an even more important trend – one which, as we climb further towards the top of the blockbuster hit charts, becomes surprisingly more pronounced, especially as you follow it towards the top of the charts, or into the “Top 50 Tracks” bracket. BuzzAngle reports that the top 50 tracks in 2017 generated 14.7 billion streams, making up 3.9% of the total streams on the platform. In 2018 this number dropped off massively with the top 50 tracks claiming just 0.7% of the market share, or only 3.74 billion plays.
This top bracket of earners is where the biggest change is taking place, and as they say, change starts from the top. While on-demand audio streaming volume grew by over 41% in 2018, the percentage of those plays dedicated to the top 50 tracks dropped by a staggering 74.6% – this is assuredly indicative of a noteworthy collapse in the industry-dominating power of major label mega hits.
When you look at the numbers from this perspective, you’ll notice that almost the entirety of the significant growth in US-based audio streams from 2017 to 2018 came from outside the top 500 tracks (and there are far less than 500 mega-hits per year). In layman’s terms, this means that the vast majority of year-over-year growth came not from major artists, but from creators well-below the top tiers of hitmakers.
To put this into perspective, only 9 songs in 2018 were streamed more than 500 million times, compared to 16 in 2017.
From this data, BuzzAngle concludes that “Consumers are exercising their choice to explore new music, which is a terrific sign for the industry.”
It’s undeniable that major labels have attempted to replicate their nearly century-long dominance over terrestrial radio, but it’s proven to be all but impossible to achieve comparable results. The internet simply isn’t conducive to the type of captive audience once offered by radio, and now that consumers are used to having the power of choice, we may have passed the point of no return.
H/T – Music Business Worldwide
***READ MORE HERE: Spotify CEO: Streaming Less Dominated by Major Hit Records