Why Now Is The Best Time to Be An Artist

We've all seen the headlines: another well-known artist struggles to sell tickets to their arena shows. But there are plenty of artists selling out those same venues. So what's really going on?I'm joined by CAA agent Akin Aliu to break it all down. We discuss the post-pandemic touring landscape and the role of each stakeholder: artists, managers, agents, promoters, venues, and more. They each have different incentives that shape the economics, and the product that hits the streets.This episode is presented by State Farm: the coverage for your small business needs. Like a good neighbor, State Farm is there.Make sure you check out our Chartmetric Stat of the Week.

Depending on who you ask, it's either the best or worst time to be an artist. There's plenty of evidence on both sides. Today, we're breaking down all of that and more.I'm joined by beatBread's Peter Sinclair. We covered it all:why it's the best time to be an artistbut why it's harder to be an omnipresent superstarthe role and perception of Spotify, YouTube, and DSPsmaking it in music today vs. the CD erathe impact of a great producer and a guest versewhy it's harder than ever to be the biggerThis was a jam packed episode. Hope you enjoy!This episode is presented by State Farm. Like a good neighbor, State Farm is there.Listen in for our Chartmetric stat of the episode!

Let's dive deep into the world of A24, the film studio known for its distinctive approach to storytelling. We explore A24’s journey from a savvy film distributor to a powerhouse production studio with hits like "Moonlight" and "Everything, Everywhere, All at Once."But A24 faces some headwinds: big investments with higher expectations, a string of underperforming releases, and pressure to expand to bigger budget IP.How can the brand known for its mystique be able to maintain its unique positioning?I'm joined by friend of the pod, Dr. Marcus Collins, to break it all down.Make sure you listen for our Chartmetric Stat of the Week!

The biggest stars in the world, like Taylor Swift, Kendrick Lamar, and Drake, have all the leverage to go independent, but they continue to work with the major labels. A big reason why is that they sign licensing deals. These deals have shifted over time, and become much more artists friendly, especially for the superstars in the streaming era.We break down the different types of deals, how they’ve shifted over time, and unique case studies like Brent Faiyaz, Kanye West, and more.I’m joined by Brian “Z” Zisook from Audiomack, who is a wealth of knowledge on this topic.This episode is brought to you by EVEN. Buy the art from the artist. Learn more at https://get.even.biz/trapitalThis episode is also brought to you by SymphonyOS, the marketing platform for today’s creative businesses. Learn more at https://symphony.to/trapitalMake sure you listen for our Chartmetric Stat of the Week!

The market is booming for generative music. Suno raised $125M and Udio has raised over $10M. The tools are impressive, but they raise some important questions:What data are these products trained on?Are startups in music incentivized to ask for permission?Is this what 'IG for music' looks like?Are these products or features?I'm joined by Tati Cirisano from MIDiA Research. Hope you enjoy listening.Make sure you listen to our Chartmetric stat of the episode!

NPR Tiny Desk is 15 years old and arguably stronger than ever. It helped Usher perform at the Super Bowl. It helped Tank and the Bangas break through to a Grammy nomination. And it elevated the perception of artists like T-Pain and Mac Miller.But how does Tiny Desk maintain its influence? Any company can host a stripped-down acoustic series for artists to perform in their office. But even if they did, it wouldn't hit the same.In this episode, we break down the dynamics that make Tiny Desk work, the tradeoffs that the show balances, how it maintains its status over time, and what the future may hold.Listen to me and Tati Cirisano from MIDiA Research break it all down.Make sure you listen to our Chartmetric stat of the episode.

The list of brands that Penske Media Corporation owns or has invested in is long: Billboard, Variety, The Hollywood Reporter, Rolling Stone, Music Business Worldwide, Deadline, and dozens more.What's Penske's long game? Are these companies better off? Where would these companies be without Penske? Which companies are most likely next?To break it all down, I'm joined by Bill Werde, former Billboard editorial director, author of Full Rate No Cap, and the Director of Bandier Program of Recording and Entertainment and Syracuse’s Newhouse School.This episode is brought to you by 4se New York, where sports and entertainment come alive.Make sure you check out our Chartmetric stat of the episode.

While Drake and Kendrick Lamar trade diss tracks back and forth, we decided to dig into the engine that makes it all possible. How has rap beef evolved in the streaming era and social media? Do the stakes still matter? Who makes money from these beef? How does this impact hip-hop's "decline"?I'm joined by BrandMan Sean, our friend of the pod who had a lot to say about this. Listen here or wherever you get podcasts!Make sure you listen to our Chartmetric stat of the week.

Private equity firm KKR has been fascinating to watch in the music rights landscape. Just when you thought they were out, they get pulled back in!In this episode, we break down the past few years of KKR's deals with Chord Music, Kobalt, HarbourView Equity Partners. Why did they sell Chord Music? Why did they partner with HarbourView? What does it say about the broader music rights investing landscape.Listen to me and Anna Nicolaou from the Financial Times break it all down.00:00 KKR's $500M debt deal with Harborview07:24 How rising interest rates affect the valuation of music14:50 KKR vs other players in the industry22:15 The role of UMG in the music rights landscape30:25 Predictions on the current bidding warsThis episode was brought to you by 4se New York, the sports and entertainment event on May 21-22. Learn more here.Make sure you listen for our Chartmetric stat of the week.Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital’s free memo.

On April 11, Taylor Swift’s songs reappeared on TikTok despite the platform's ongoing dispute with her record label, Universal Music Group. This move was made in advance of the release of Taylor’s 11th studio album, The Tortured Poets Department.On this episode of Trapital, Tatiana Cirisano and I discuss why Swift and UMG don’t see eye-to-eye, competing incentives, who’s in charge at UMG, and more.00:00 Why we’re not surprised Taylor Swift made this move07:52 Why Swift and UMG have competing incentives13:37 What it means for UMG and TikTok moving forward24:27 Who’s the most powerful person in the music industry?This episode is brought to you by EVEN, where you buy the art from the artist. Learn more at https://get.even.biz/trapitalMake sure you listen in for our new Chartmetric stat of the week!Trapital is home for the business of music, media and culture. Learn more by reading Trapital’s free memo.