Steve reflects on working as a music journalist in the 1990s – and has lots to say on music journalism today; Spotify deletes 75 million "spam songs"; and why is TikTok so important to music?
Description
Your weekly guide to the music biz and how it all works. And goodness me, there's a lot in this week’s episode of The Price of Music for our dynamic duo to get stuck into...
Listener Richard sent us a great question about music journalism – and Steve has a lot to say when answering: what’s changed about music journalism, whether music journalism is still important, where the music print media has gone, and what the future of music writing holds.
(Plus - does Steve get paid when his 1991 “Nevermind” NME review is re-printed today?)
Stu’s Big Number is 75 million – and they are “spam tracks” that Spotify has removed from its service in the last year alone. But what on earth is a spam song anyway?
What extra information do artists need to attach to their songs when they upload music?
Spotify has new rules around AI music – so what’s banned, and what’s not banned?
TikTok is apparently about to be sold in the US (maybe) – but why is TikTok so important to the music industry?
Why are old Billie Eilish and Rihanna songs re-emerging to huge popularity?
The Great Record Shop Album Filing Debate rumbles on – where would you file Elton John – “E” or “J”?
(Plus: a listener report from the Resident Records shop that started it all…)
And in the special post-show lock-in section just for our Patreon Superfans, Steve and Stuart prop themselves at the bar to chat about:
More on music journalism: are video creators being ‘encouraged’ to do certain reviews? (And in what ways in the past were journalists persuaded to write reviews?)
Doing an artist interview in real life versus doing it over Zoom
Should online influencers who help songs become successful get a cut of the song’s profits?
Introducing Slady – the all-women Slade tribute band! (And why did they have to cancel a gig?)
Why are people now buying tickets at the very last minute - and why does the economics of ticketing mean artists won’t be able to do as many gigs?
Do you always turn up early for support bands – and have you ever discover a new favourite band this way?
As ever, we welcome your feedback, emails and – in particular – any questions you might have about how the music biz works!
Email us: thepriceofmusicpodcast@gmail.com
See you next week!
Steve and Stuart
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