The 13th All That Matters/Music Matters convention was held on the Ritz-Carlton Hotel in Singapore from Sept. 7 -12 with greater than 1,700 folks attending, and 35 musical acts acting at venues throughout the town. All informed, 240 presenters gave a complete of 77 panels and keynote displays.
The occasion is acknowledged because the main worldwide music convention in Asia and attracts business heads from territories throughout the globe, with a focus on south east Asia, China, Australia and Europe.
There was a deal with the brand new paradigm in music discovery, the fast-growing China market, Adele profession through an interview with Jonathan Dickens, and music in promoting.
Josh Rabinowitz, government VP/director of music at Grey Townnhouse, gave an insightful presentation on how music can be utilized to energise promoting and assist promote the artist. “(In the late ’90s) advertising started using music that was relevant to culture (instead of using jingles),” Rabinowitz associated. “Sting was having issues with a tune known as ‘Desert Rose’… and he bought concerned with Jaguar and the entire sudden a tune that was not doing effectively within the charts exploded as a result of it was in an advert.” He provided, “It became cool to ‘sell in’ instead of selling out. The concept of selling in became prevalent and important.” Rabinowitz continued, “Music in advertising sort of became the new radio. People were discovering music (that way). Artists who were hesitant to do it were like ‘let’s go’.” Rabinowitz famous this coincided with the shift from bodily to digital. “It became really difficult in 1999, 2000, 2001, 2002 to make money in record sales so how are you going to monetize your music? Get it into an ad, get it into film.” He summed up, “That was the rise of the music supervisor slash music producer.”
Gunnar Greve, founding father of Norwegian music firm MER and managing director of Liquid State, the joint-venture label in China between Tencent Music Entertainment and Sony Music Entertainment, gave an incisive keynote. He centered on how the motion from bodily to digital has modified how customers interact with music and in flip how firms ought to market music. “When there’s a new disruptive change it always comes with a challenge, because you’ve been used to telling that story and creating that narrative into a box…or into physical CD that gives you a framework of how you should tell that story. The most important thing with change is to embrace what comes after.” He famous that even in the present day Spotify or different well-known streaming outfits is probably not the way in which younger listeners uncover music. “The majority of young consumers discover music….on platforms services, apps and outlets that are in many cases disruptive,” he explained. Also, Greve pointed to a new type of music consumer, “Gamers… consume music in different patterns and very alternative ways compared to what we’re used to or were used to so in that sense they are an extremely early-adapting audience.”
Greve was then joined by a panel of artists together with Alan Walker, Corsak, Seungri of Bigbang in addition to Andrew Li, government chairman of the membership Zouk. He defined in regards to the label Liquid State. “Liquid State is a very, very unique project, which means we have to figure (things) out and find our path as we go. For (Alan Walker’s) involvement and for Seungri they’re collaborators and ambassadors. They’ve taken on the role to be ambassadors that help build the brand. When they come together and make a song such as ‘Unite,’ and we’re talking charts in 15 countries, and we’re doing 200 million streams. That paves way…. I get phone calls…from artists in the U.S. or from China or Korea… saying can we get on a collaboration? So in that sense they’ve taken on the role as ambassadors and play a hugely important role in what we do.”
Jonathan Dickins, founder and CEO of September Management and supervisor of such acts as Adele, M.I.A., and Rick Rubin, closed the occasion together with his insights into the business. “The coverage of my firm is that there are two kinds of artists I wish to work with. One is commercially profitable artists and the opposite is influential artists. Because if we now have influential artists, they drive the commercially profitable ones. There are tons of examples of that. Would Geffen Records have gotten Nirvana in the event that they didn’t have Sonic Youth? I don’t suppose so.” Dickens additionally defined, “I don’t think you have to have hits to have a career. One thing I think is super important is relevancy. If you have relevancy you have careers. (By contrast) there are artists that blow hot and no one cares about in a year.”
