Music&Media

December 04, 2019

Music&Media

About Music & Media

“Two day-long Music & Media program presents renowned keynote speakers, inspiring workshops and networking. The evenings of Music & Media is taken over by Finland’s largest club festival, Lost in Music. Music & Media conference program ends with a glamorous finalé of The Industry Awards Gala, where we celebrate the greatest achievements in our community. “

I attended seven seminars in which I took some notes, that could be useful, got knowledge about the whole music industry and got to listen to various successful people. Music and Media help to build connection and introduces ambitious students inspires new artists and leads to a knowledge of what you should or should not do at the beginning of your career. Moreover, it acquaints with different countries' music industries as an example of a wide variety of opportunities to start your work.

I made a research on every speaker works and biography, so I could build abetter understanding of their speech.

Each of the speakers left a different impression. Some workshops were more useful to young artists than others. Some were informative, for example, I was able to learn more about the music industry in Mexico, Germany, and the United States. The advice given during the event can be useful in the same way in cinematography, in which I am involved. Although my education is related to cinema, I am also very interested in music, which is inextricably linked to the cinema. The speakers who work in the film industry inspired, and after doing a little research on their personalities, I made sure that the people at the Music and Media event deserve respect and it would be wrong to not follow their advice.

List of seminars attended:

1. SYNC ONTO THE NEXT LEVEL – HOW TO GET YOUR MUSIC TO THE NEXT BLOCKBUSTER PRODUCTION

2. DISTRIBUTION MASTERCLASS: GETTING YOUR MUSIC OUT TO THE WORLD

3. MUSIC MOVES EUROPE – SUPPORT TO SMALL MI=USIC VENUES COOPERATION

4. MAKING HEADS TURN: EXPERT VIEWS ON HOW TO GET THE INDUSTRY ATTENTION

5. REACHING THE GATEKEEPERS: A NEW ARTIST’S PATH TO SUCCESS

6. INTERVIEW WITH DANIEL LIEBERBERG

7. MEXICO – THE EVER GROWINGSTREAMING MARKET GIANT

1. SYNC ONTO THE NEXT LEVEL – HOW TO GET YOUR MUSIC TO THE NEXT BLOCKBUSTER PRODUCTION

Seminar speakers introduced themselves and spoke about how new artists can have their music known and placed on the next blockbuster production. Each of the speakers had Its pieces of advice and showed examples of their work.

Panelists discussed the emerging trends of music licensing in the largest film industries in the world. They gave information to young artists on how to send their music to the supervisors, how to write an e-mail, introduce the company to even write a name and how to name music you send to supervisors. For TV series sometimes creators use library music but for example, Netflix use only author music, that can be uploaded on apple and bought – that is a good chance to go out with music. So if you make music you should license in, upload on shazam or sound cloud.

Natasha Duprey was first to speak – she is from Vancouver Canada and is an award-winning music supervisor and VP of the Canadian Guild of Music Supervisors. Since 2003 she has supervised hundreds of hours of episodic television including the series The Terror (AMC), Snowpiercer (TBS), The Order (Netflix) and The L Word (Showtime). From my research, I understood that she worked a lot in the past 15 years, so there are too many examples of movies and TV series she took part in. Quotes, from Music and Media of Natasha: “You don’t need to record a full song, just a part if you want it in a movie”, she also advised how to write her an email to send music for the soundtrack.

Samuel Diaz who handles music supervision for CBS properties such as NCIS, Blue Bloods and the recently wrapped The Good Wife. He also worked as an in-house music supervisor for Frasier, JAG, the Star Trek TV franchise and many other productions while at Paramount Television.

“There are no demos, every song should be good from the start.”

Mike Jansen - Mike Jansen’s career has spanned both the music and marketing industries. A stint in artist management led him to his current position as owner of The Greater Goods, a boutique sync & publishing agency focusing on sync placements and bespoke composition. In the seminar, he spoke about how to get a music license and where that for using someone's music you should cover it and make your variation of it.

2 GETTING YOUR MUSIC OUT TO THE WORLD

Online streaming platform changed – a job is still the same as a distributor because somebody might want to consume it. The thing that changed is when labels think about what they need from distributors is playlisting. There is a lot of streaming that happens on a platform but not in the playlist, they try to get creative and develop more ways to labels artists market directly to the fans and build their fan base. Artists, managers, and labels need to remember there is so much out there – you don’t to be on a playlist to get streams. Distributors work closely with the label to figure out what drivers are. You can’t just say that someone is cool: Why this artist? Why right now?

New artists need a story and marketing plan, otherwise, it’s not going to work.

Not every artist needs a physical realize – it is expensive to make a physical realization. What needed for successful realize – you have to have to year plan. You can’t realize music without marketing. It is important to understand where an artist is at this point. South America, Australia, Japan are the next markets to be targeted, so new artists should think about the plan they would realize within five years considering market development chances, for example, online is a massive advertising platform. Biggest are Spotify and apple, amazon and Pandora are growing, YouTube is very big everywhere. You can geo-target everything by observing what and where is consumed better. Creating music is 50% and 50% is releasing it.

Every label is looking for people ready to work and grow with the label. The biggest investment is time – because an artist should be there.

Liz Snair(VP, North American Label Management at The Orchard) – The Orchard is a leading music distribution company operating in over 40 markets worldwide. She oversees clients who work directly with artists, 400 people work in the orchard. The Orchard empowers creators and businesses to grow and adapt in the dynamic global industry marketing, distribution, music, video, licensing, creative services, global, sales analytics, technology

Steven Matrick (Kepler events)

Steven Matrick is the owner of artist management company Kepler Events and talent buyer at Pianos on the Lower East Side of Manhattan. Steven has also been head talent buyer at Pianos for the past seven years. Pianos are Manhattan’s preeminent indie rock venue where bands such as Passion Pit, Courtney Barnett, Car Seat Headrest, Imagine Dragons, Clap Your Hands Say Yeah, Tame Impala, A Hundred Waters and many more.

Before this, Steven worked for the Michael Lang Organization, a concert production company owned by Woodstock Promoter Michael Lang where he worked on many and various projects such as Woodstock ’99, Amsterjam, management of Turkish Pop Sensation Tarkan and tour production for artists such as The Fugees, Lauryn Hill, etc.

Luis Alvareng’a - is a co-founder of AISA a platform for small independent labels. They manage clients worldwide - their main target groups are independent labels, artists, bands & brands, agents and organizations, focusing mainly on Independent Music, Folk, Rock, and Metal.

3. MUSIC MOVES EUROPE

Audrey Guerre

Music Moves Europe(MME) – it is a pilot project. EU commission wanted to focus on supporting the music sector that is why they created Music Moves Europe – it is an experiment whose goal is to find out how would the music industry look like in twenty years. There are two main structures – dialogue - meetings with representatives of the music sector, to hear what are the challenges, recommendations, as for EU commission to find out how the music sector works on the European level, and preparatory initiatives and actions, to test some ideas until 2021. EU motto is “united in diversity” it is also the whole idea of the music sector – EU wants to highlight the musical diversity in Europe to make out competitive, creative and highlight it in the globalized world. Music is not only a business industry it can bring also social changes and messages. The main purpose of MME is to create a fully European music policy.

MME’s objectives are: promote creativity and innovation, safeguard and expand the diversity of European music, help the sector adapt to and benefit from digitization.

This project is made for professionals and experienced individuals. EU considers it to be a large and important project, so do foundation is big and responsible.

4. MAKING HEADS TURN

How to best contact the person you want to work with?

Some of the things I learned and that can be applied nor only while working in the music industry. Have your time, don’t be too fast – because if you are turning to the same people over and over again they could get annoyed and at some point won’t answer you. You have to have good timing on when you approach people. If you are young artist and you sent your music to a supervisor the best way to see if someone listened is to upload it on sound cloud, because there you can see who listened, if not – you can remind, because they can just forget about, don’t try to convince someone that your music is great. There is no way someone can make a person listen – everyone has own taste in music. Sending your music, you should “Spy” on the supervisor you send it – if you send your rap-core rock record to a supervisor who likes classic guitar – it won’t work, make research. Again about e-mails – don’t write too long e-mails it is a matter of time – no one would read a life story – they need your work. Share the music and things you do – it useful to have a second eye on what you do.

Think more about music content they want to be in. What kind of performer do you want to be? You shouldn’t look at shoes or program your keyboard between songs, be the personality you want to be – who can attract people. As longs as somethings attract viewers – you should make perfection, the song should not have demos.

Speakers:

Leonidas Chantzaras(Universal Music)

Leonidas better known by his artist name Freakchild started his career in the Music Industry as a solo artist. Shortly after he became a professional songwriter and producer with multi-gold and platinum releases around the world. Leonidas Chantzaras is the CEO of his own management company The Company MGMT, publishing company The Store! and record label 300* Records. He is currently personally in contract with BMG Rights Management as a songwriter. His co-writes include people such as Steve Lee (Britney Spears), Michael Jay (Celine Dion), Rasheem "Kilo" Pugh (Lauryn Hill), Curtis Richardson (Jennifer Lopez) and Deekay (Blue). Leonidas has worked with some of today's talents such as...Elena Paparizou, Anna David.

Oskar Ekman

CEO and Co-Founder at YEAR0001. A veteran in the Swedish live music industry, who has managed and advised some of the Nordics' most successful and largest artists and now active in bridging and innovating the creative music industry. YEAR0001 is a multidisciplinary record label, management and creative studio founded in Stockholm in 2015.

David Fricke (born June 4, 1952) is a senior editor at Rolling Stone magazine, where he writes predominantly on rock music – his career continues within 30 years. His interviews with Kurt Cobain and Courtney Love for Rolling Stone, before Cobain's death, were widely cited. Before joining Rolling Stone, he wrote for Circusand Good Times.

He featured in documentaries on the making of Pink Floyd's The Dark Side of the Moon, Cream's Disraeli Gears, Def Leppard's Hysteria, Nirvana's Nevermind, Metallica's Black Album, Peter Gabriel's So, Frank Zappa's Apostrophe and Over-Nite Sensation as well as Rush's Moving Pictures and 2112albums.

He worked with almost all the classic rock bands I ever knew, so it is impressive to meet that kind of people in person and listen to their stories and advice.

5. A NEW ARTIST PATH TO SUCCESS

The most important thing is to be easily accessible – you should be out for meeting new people before you make your project – you have to build up yourself. Do by yourself, before contacting the label, agent, manager. You should know what you want to do. It depends on what you do. You have to have a story to break in in any market, you should convince people you are. If you are not provocative you are not going to go through.

Speakers:

My Bergman

My worked at Blixten & Co for 5 years, had her booking agency and worked at Albot & Albot management. At Blixten My represents a range of artists and bands. Amongst them, she works with Pale Honey, Linn Koch-Emmery, Vita Bergen, Herbert Munkhammar and Timo Räisänen.

Will Larnach Jones

Will Larnach-Jones has worked in creative fields for the last 20 years, across marketing, management, event curation and production, A&R and public relations. worked as a fashion and music publicist in London,

Mel Brown

Mel Brown began working at Impressive PR over 21 years ago, and since 1988 she has been working in the field of music PR. She gained experience on major labels such as Sony and Arista BMG, as well as several independent PR companies, before setting up her own company. Impressive has a core team of 5 senior employees who are experienced professionals in two divisions of the company: music and entertainment.

Over the years in the UK, the company has worked with many different artists, including Muse, Coldplay, Snow Patrol, Rick Astley, Kim Wilde, The Human League, Kraftwerk, Blue, and De La Soul and many many more. They are also experienced and keen to penetrate our market from all over the world. Current activities include Juiceboxxx (USA), The Magnettes (Sweden), Jett Rebel (The Netherlands), Yes We Mystic (Canada) and Cousin Tony’s Brand New Firebird (Australia).

6. INTERVIEW WITH DANIEL LIEBERBERG

Daniel Lieberg, President of Continental Europe and Africa at Sony Music Entertainment. He always had a curiosity for music, because his father was doing business related to it. Daniel Liberberg was named President of Continental Europe and Africa at Sony Music Entertainment in January 2018.

Born in Frankfurt, the musical director began his career as an accountant and a buyer of talents, while still at university, studying literature, history, and politics. At Marek Lieberberg Konzertagentur he worked with artists like The Fugees, Weezer, Alanis Morissette, Faithless, and Linkin Park, and was responsible for booking the largest German Rock am Ring / Rock im Park festivals. In parallel with his role as a leading concert promoter in Germany, he founded the label and publishing business as a joint venture with BMG, which he left in 2002 to join Universal Music in Berlin.

Under his leadership, many local and international artists have signed contracts with a German company, including Lana del Rey, Volbeat, Gotye, Chvrches, Dua Lipa, Aloe Blacc, Lindsey Stirling, Haim, Andreas Bourani, Unheilig, Kraftklub, KIZ, Felix Jaehn Alma and Scottish rookie Lewis Capaldi. Over the years, he has worked with several Finnish artists such as Apocalyptica, Disco Ensemble, and finally The Rasmus, with their breakthrough international album “Dead Letters” and the world-famous single “In The Shadows”.

In this role, Lieberg will oversee Sony Music in two regions, except for Spain and Portugal. While in Berlin, he will report directly to Stringer and will be responsible for the work of artists and the promotion of strategic business initiatives in the territories of these regions.

7. MEXICO – THE EVER GROWINGSTREAMING MARKET GIANT

Speakers: Malfi Dorantes (MalfiCo), Ricardo Gómez (OCESA)

Mexico is a country with a population of more than 129 million people - there is an audience for everyone, a music market worth 137 million dollars and a country with the world's leading "streaming capital." Recently Mexico's record and live industries have developed and changed a lot.

Mexico is the big now revenue from sales of music is up 23.6% last year, after rising 15.1% in 2015.

However, to get an idea of how important the area has been in recent times, you only need to check Spotify. What you don't often hear is the amount of money generated by streaming platforms that tripled in one year, but that is what happened in Mexico in 2015.

Digital infrastructure and streaming access are also improving for the populations of all Latin American countries. Netflix has a large manufacturing momentum in Mexico. In 2020, the online streaming network says it will spend $ 200 million on production in the country, which is part of its growing international expansion strategy.

Malfi Dorantes (MalfiCo)

Malfi heads MalfiCo, Mexico's first music publishing agency founded 7 years ago. Over the years, MalfiCo has collaborated with various Nordic groups, working to strengthen their presence and expand their audience in Mexico. She is also a professor of communications and has worked as a journalist and music photographer in numerous publications. She is also a partner at NODO, the Mexican Music Advisory Office, responsible for organizing sales missions for various music-sharing organizations.