8Sided Blog

a zine about sound, culture, and the punk rock dream

SXSW Recap: Sorry I Didn’t Check Out Your Showcase

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I’ve been back from Austin and SXSW for over a week, but I’m just now feeling refreshed and up to speed. It’s taken a little while to process everything, as is always the case with these industry conferences and their non-stop agendas. A short recap, you say? Okay, here you go:

This is the year I attended SXSW solely as a music business professional. Previously I was an artist, performing at various showcases. Then my only worries were finding my way to the label-provided hotel room, doing well at the gig, and hanging out and having drinks with various music friends also in town. This time I flew to Austin to get down to business. I went to catch the mood, feel the vibe, put a wet finger to the wind to determine where it’s all going, and network network network. I’m not sure if I’m any wiser about the future direction of the music industry and I didn’t meet as many new people as I thought I would (though I made a few great new friends), but I’m satisfied with my SXSW experience.

It was maybe a decade ago that I last made it to SXSW. It’s difficult for me to understand how much things have changed (and grown) as I never went to the actual conference. But when I told people that this was my first time in ten years, the reaction was always “well, it’s different” followed by an exasperated look of ‘whew.’ I won’t lie — it was busy. Everywhere you looked you found small groups of people with badges hanging from their necks. There were also ride-share scooters all over the place, and often the sidewalks and pathways were clogged with semi-inebriated attendees perilously dodging on-foot people like me.

When most people think of SXSW, they think of all the bands. I mainly partook in the actual conference, checking out panels and having a few scheduled ‘mentor sessions.’ Those sessions were opportunities to sit with a person of note in the music industry and pick his or her brain for fifteen minutes. Fifteen minutes isn’t much, but I came prepared with set questions for the veteran music publishing professionals I spoke with. It seemed like a brain-numbing exercise for the ‘mentors’ as the sessions were one-after-the-other, fifteen minutes in-and-out. ‘Speed dating’ was mentioned more than once. I did get some value — it’s like asking a lawyer that burning legal question that’s been sitting in the back of your brain, and without incurring the hourly rate.

There were some meaty panels, too. I wish I had gone to more, but I ended up mostly running around finding people and having last-minute meetings. I checked out an in-the-weeds panel about contract negotiation (totally my kind of thing) and a terrific panel about how label A&R has changed over the past several years. My friend Craig Snyder was the moderator for the latter, and there was a bit of enlightening information thrown around. Notably, Island Records’ Alyssa Castiglia — a proponent of data tools — put to rest the myth that modern labels now sign acts based on data alone. Instead, data is used to spot trends as they happen, guiding the type of artists for a major label A&R scout to seek out.

And of course, there were bands. 8D Industries flagship band, Monta At Odds, performed — with a new singer and drummer — and sounded excellent. This band is transforming/mutating in real time, and there will be new recordings by the end of this year to document these changes. Other fun bands I saw included Mary Lattimore (sunset by the lake with bats in the air!), The Comet Is Coming, Heart Bones (Robbie Hardkiss and I were laughing our asses off), The Octopus Project, Anemone, and Palberta. It may seem like I saw a lot of bands, but my efforts paled in comparison to my badge-wearing peers.

I’m glad I went, and I’m happy I’m home. I’ll be back next year, I’m sure. And now I’m gearing up for the next conference on the agenda — Nashville’s MusicBiz 2019 in early May. Reach out if you’ll be there, too.

A Radical Plan To Save The Big Music Labels: Shrink The Big Music Labels

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Re/code:

The late Dave Goldberg had (an) idea: He wanted to radically reinvent the modern music label, by cutting its staff and expenses dramatically, focusing almost entirely on digital and moving away from making new music.



Over the years, Goldberg would offer his prescription for the industry to anyone who would listen. Now the world can see it, via a memo he wrote to Sony Entertainment CEO Michael Lynton last summer. The memo surfaced earlier this year via the Sony hack, and some industry folks have referenced it since then. I’m re-printing here because it’s relevant for the music industry, and any other business that is struggling to reinvent itself (that is, most industries).


The memo is an interesting read. Most of the recommendations are not quite applicable to smaller, independent labels — in fact, it’s suggested that Sony’s new release strategy emulate an independent label’s. But the take-away for non-major label operators comes from the memo’s emphasis on back catalog and publishing. Too many independents downplay both at their own peril. Even a mere few weeks after an album or single has been released I see most labels wipe it from the drawing board, with no more mention of it on their news feeds or social media and no attempt to repackage or rekindle interest in past releases. Goldberg was correct that not only is a strong back catalog valuable when it comes to licensing and synch, but past releases with a nurtured fan interest can earn consistent income in the world of streaming.

(h/t Jon Curtis)

The Album’s Place In A Streaming World

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Music Business Worldwide:

You wouldn’t know it to earwig most modern label conversations, but physical album sales alone actually accounted for 53% of 2014’s total sales/on-demand streaming cash haul. It’s therefore something of a worry to consider the shabby treatment the LP is currently being subjected to around these parts – and the recklessness with which the language and mathematics of streaming are being imposed upon it.



First we must recognise that streaming will claim the majority of music consumption in the future. But that doesn’t prevent us from asking a vital question: What do all of streaming’s measurements of success – its billions of plays, its viral playlists and its carefully-branded ‘memberships’ – actually mean in the context of traditional, unit sales-based album successes?



The truth is, we have no idea… and we probably never will.


There’s some valid food for thought in this kinda snarky piece, and the author is right to point out that physical sales remain (comparitively) strong. That’s certainly not gleaned from all the ink and fanfare given to the streaming economy. And I share the writer’s frustration with those in the music industry who try to contextualize and measure new technologies through traditional formats.

Regardless, I’m not beholden to the ‘album’ … I feel that as that concept loosens the artist has a lot more room to creatively play with how his / her music is presented to the listener. Don’t get me wrong – great albums are great. But so are are series of EPs, or ten single songs each released weekly, or any other permutation that’s possible now. How, and with what frequency, an act’s music gets released can now be part of the game, rather than just being expected to have a sixty minute set of songs ready each year or so. As a (sometimes) recording artist, I find that inspiring.

What Happens When An Artist Gets Dropped?

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From Noisey, a bit of a glimpse into the major label – artist business relationship and why signing that big deal is often more stick than carrot:

One thing Mike Smith (President of Music at Virgin EMI) is clear about, is that artists need to establish their own level of autonomy, so that their reliance is not entirely on the label. “Now more than ever it’s beholden on an artist and a manager to put the artist in a place where they are not vulnerable. The more work that an artist can do themselves, the stronger they’ll be. Because, what often can happen is an act can get signed on the vision of an A&R person but there just aren’t enough other things going on.”



Basically, whenever an artist enters any situation with a major label, they need to keep grounded, and keep their own worth at the forefront of their minds. “An artist gets it to a point where they’re already self sustainable and then labels swoop in and there’s going to come a point where these artists realize the reason why they’re swooping in and giving them all this money is because they can make ten times as much if they just keep doing what they’re doing,” JMSN (Christian Berishaj) says. “Take Chance the Rapper, he’s been offered million dollar deals and turned them down because obviously if they’re offering you million dollar deals then labels know they can make a whole lot more than that from you. When I meet with labels I ask, ‘What can you provide me that I’m not able to do myself?’ and more often than not there’s not a solid answer besides radio. Who the fuck is going to radio to discover music anymore? We live in a different time.”