Words of Christie Eliezer
From new ways to find music to NFTs to COVID sleuths, 2022 sure looks interesting
2022 has been crappy so far, but we’re trying to remain as optimistic as possible as we go forward, especially in music industry circles.
Today, we highlight some of the music industry trends to watch for this year.
Read about all the latest features and pillars here.
Millennials will increase demand for gigs
We are not sure to what extent the continued closure of the border or the lack of insurance schemes for promoters from outside Victoria will affect tourism and music festivals through 2022.
But the demand is there in 2022, especially among Millennials.
Data is from US but may apply to Australia.
Millennials will attend concerts (13 percent), live music sessions (10 percent), and festivals (9 percent), and will outnumber other age demographics for livestream shows (6 percent).
The Return of the Corner Pub
State governments and councils are taking out all the carrots to get people back to the CBD.
But the results of the Australian live sector will continue after two years of lockdown.
“Patrons rediscover the important role music venues have played in the community during the lockdown,” says Alan Jin, co-founder and COO of Melbourne-based award-winning platform Musso.
Jin believes that the research behind a new Musso product this year to simplify the search, booking, administration and payment process will see booking tasks to more pub owners – which they previously put in the “too hard” basket .
New ways to find new music
Music lovers in the age group of 18-29 will be looking for new music through video games.
It’s something that game developers are aware of, acknowledging that they start sourcing new music a year before the game’s release.
A YouGov survey conducted in the US found that 24 percent are already looking for new music in games, a figure expected to increase significantly over the next 12 months.
Of demos 18-29, 50 percent find new music via Apple Music or Spotify (compared to 37 percent of the general American public), 45 percent from social media (32 percent of the general public), and a third from movies. and TV shows.
35 percent of Americans of all age groups still get new music from radio or satellite radio, 31 percent from recommendations, 14 percent from commercials, 11 percent from blogs/websites and 8 percent from podcasts.
NFT to go mainstream
Some would insist that NFTs are just a fad or, worse, a sham.
But all indications are that a market of US $ 58 billion has been created in 2021 – the total number of buyers since March is between 10 thousand and 20 thousand. irreplaceable.com And was Collins Dictionary’s Word of the Year – It’s about to go more mainstream.
Big corporations and brands will get involved, and the metaverse (gaming-related NFTs) will be the dominant trend.
Industry players expect regulations covering NFTs to be introduced in 2022.
Australia is listed as the ninth most NFT-interested nation based on Google searches. China, Singapore and Venezuela top the list.
Eminem led the charge in buying NFT, but when a label, band, or artist (are they lucky enough to own their own music) relinquishes the publishing rights to a song or album as NFT would be. That’s when things get really crazy.
high concert price
Ticket prices were already rising before COVID as promoters experimented with tiered payments – not only to take advantage of Australian audience interest to pay top money for concerts, but to scale it up. Seen as a solution too.
According to Live Performance Australia in 2018, the average ticket price was $99.03 (up from $90.59 a year earlier), while Victorians were happy to pay more, at $107.08 per person.
One of the reasons for the higher price hike is that the promoters are being forced to pay hefty fees to the road crew and production staff.
Most of them left the industry in the last two years. Their current jobs are constant money and normal hours.
When they are offered large salads to return for tours and festivals, they demand how many hours they are guaranteed and what compensation they will receive if they cancel.
“It’s a Catch 22,” says CrewCare co-founder Tony Moran. “They won’t come back to the back of the live sector, and the live sector won’t come back until they come back.”
Other costs include rising petrol prices (up to $2 a liter as of last November, as they are pegged to higher international crude oil prices), a jump in insurance premiums, running into additional costs for health officials. Taking, and paying for cancellation to ticket company refund.
Some associations are spitting out chips, saying that promoters should reduce production to cut costs, rather than expect them to fork out to consumers.
Tiktok will grow in spite of imitators
The number of copycats happily jumping on the short video bandwagon can take the wind out of TikTok.
But for 2022, all the predictions are that it is going to be another strong year for it.
Predictions suggest that it will reach between 1.5 billion and 2 billion monthly users, after a 59.8 percent increase in 2020 and 40.8 percent in 2021.
It reached one billion in September 2021, while the previous Australian figure was 2.5 million in early 2020, with a monthly usage of 16.8 hours.
the songs will become even more upbeat and colorful
One of the consequences of the COVID lock-in was the fast, happy and colorful pop songs, which will continue into 2022.
This trend started two years ago. In 2020, the average BPM of the top 20 songs was 122 beats per minute, the highest since 2009.
Looking at the positives, the cast faced the bleakness of the lockdown.
George Shepard of Brisbane band Shepard, whose 2021 album was titled kaleidoscope, said very quiet At the time: “There have been some really unusual gains for COVID.
“Everyone slowed down for a second and smelled the roses, the earth breathed for a while, people took stock of what they really appreciated together and fell in love all around.”
Dogs to sniff out COVID at gigs
Sleuths aren’t just at music shows to catch you for drugs. They are going there to detect COVID in the audience and backstage.
They began to be used in the US late last year by Metallica, Tool, The Black Keys and Eric Church.
People with COVID have a distinct odor, and if they detect the virus, they are trained to sit.
The company overseeing it is bio-detection K9, and it is led by Jerry Johnson, who worked with dog teams in Iraq and Afghanistan in the 2000s.
Johnson told Rolling stone: “If you understand dog behavior instincts, it makes a lot of sense.
Dogs smell each other to see if the other dog has the virus.
“We’re training them to look for something they’re interested in somehow.”
By the time we got to Woofstock, anyone?
Check out our feature on TikTok and see if this is the future of the music industry.