Music is the creator economy catalyst

In his book The Passion Economy Adam Davidson argues that our current century is one where people set up businesses that centre around their passions. This contrasts with the main tenet of the previous century, where the focus was on commoditization, production and scale. This economic change underpins an important marker which Davidson generalizes as follows: “The Passion Economy is about quality and the conversation you have with your clients.” (p.38) Music is perfectly positioned to play into this shift and, indeed, does so already.

Davidson doesn’t specifically write about music and musicians. Similarly, if we look at the top 100 social media as defined by the Knight Institute at Columbia University, we see platforms not designed for music or musicians but used by them nonetheless.

Social platforms sized by popularity. Source: Knight Institute

How creators create the most

The researchers at the Knight Institute call these bubbles ‘logics’ hinting at an underlying logic, or function, that connects what’s inside of the bubble. The biggest bubble is that of the ‘creator logic’ which the researchers define as follows:

“creator logic platforms are for everyone and enable users to share a specific type of media (like video, livestreams, or art), in a one-to-many fashion. They are home to “creators,” people who consistently make content for the platform, often as a source of income. Some examples of creator logic are YouTube, TikTok, Twitch, and Wattpad.”

Other platforms to include here are the subscription platforms such as Patreon, Currents.fm or Ampled. As Cherie Hu has argued last year, music is at the core of the the crowdfunding model underlying these platforms. What they may lack in popularity against platforms like Twitch, they gain in terms of the value they capture. Let’s go a little deeper into how music catalyzes these creator platforms and permeates the broader social media ecosystem.

Adding value

Whereas crowdfunding has strong roots in music, platforms such as Twitch, TikTok, and YouTube are first and foremost video-sharing services aimed at connecting people through experiences and stories. By now, we know how important music has been and still is when it comes to growth on these platforms. Twitch, for example, while still primarily being a platform for gamers, has seen massive growth in music streamers. Looking at Twitchtracker, the growth in channels and viewers between February 2020 and February 2021 is impressive. The number of channels broadcasting music tripled, and the number of viewers grew by almost 7x. Of course, the integration between Amazon Music and Twitch further establishes the role of music on the livestreaming platform. Similarly, music is a driver of growth on TikTok and music remains a key driver of traffic on YouTube with 22% of all views attributed to music videos. The reason, I argue, that music plays such a key part on these creator platforms is its ability to convey quality and trigger conversation.

A great example for this, which will immediately show how music permeates the wider social media ecosystem, is by going back to 2019’s biggest TikTok star: Lil Nas X. Besides having a breakout song that was ripe for conflict, perfect for meme-creation, ideal for dance challenges, etc., the artist also played into the feedback loops necessary to engage an audience. Moreover, he did so using a broad variety of social media, posting short snippets of songs on Twitter for example and asking for feedback. Of course, this requires a certain type of artist and not everyone is willing to engage in, what Jade Gomez recently described in Complex as: “commentary and memes that almost make them separate entities from their music itself.”

Capturing value

When, as an artist, you ask yourself how do I add value and how do I capture that value through my audience, it’s important to stay close to who you are. If you’re not the type of person who is happy to enter an endless feedback loop of commentary and memes, you can still look at how you can take advantage of stepping into a dialogue with your fans. The platforms are there and users are eager to engage with music. More and more, fans are becoming creators themselves, the dialogue between fan and artist becoming one where music-making is a shared passion. The creator tools for this are many and the business around it is worth almost $900million. Artists can draw the most loyal of their fans to places like Patreon, where they can give insights into their production processes and provide access to their own sound files for their fans to work on. A great example of this is Jamie Lidell, who sends out audio packs of all the sounds used during his podcast recordings to the higher-tier fans on his Patreon.

Big Tech and the Creator Economy

Recent developments show how the bigger tech companies are wisening up to the chain of feedback that allows artists, and creators more generally, to find audiences, cultivate them, and then capture their value directly. Amazon is one example of a company trying to create an integrated flow for this, but they miss the platform where people can take a megaphone and shout. A great place to do just that is Twitter. With their development of Spaces and the acquisition of Revue, Twitter seems to position itself as, what Peter Yang calls, “the full-stack platform for expert creators.”

Source: Peter Yang, creatoreconomy.so

The key element to this that Yang focuses on is the ability to mix content types. Again, this will have to fit the personality of the artist, but the message is clear: flip the value relationship between yourself as artist and fan and there’s a lot of value you can capture by directly adding value to the lives of your fans. This two-way street seems paved with music and while other creators can walk across it, it’s music that often acts as a springboard to growth and success.

Storytelling, a final word

Music drives the creator economy and permeates across all levels of social platforms. From Snapchat Stories to music subreddits, millions of people use social media every day to engage with music and musicians. As the Creator Economy continues to grow it’s the best storytellers that will reach the top. With a broad variety of available tools artists are primed to find, engage and connect with an audience that is just passionate, and sometimes even more passionate, as they are about their music. Let fans share in the story and capture the value they feel you’ve added to their lives.

Endlesss studio

Music’s non-static future as seen through music making app Endlesss

For those unfamiliar with Endlesss: it’s a collaborative music making app founded by musician Tim Exile that has been on the market as a (free) mobile app for a while already. In December, Endlesss launched its desktop app which I’ve now given a go and it provided a glimpse of how music is reconquering a quality it has lost in the age of the recording: participation.

Why Endlesss is different

Instead of writing songs, the app’s users are encouraged to make ‘jams’ which essentially are iterative loops of up to 8 bars. Each iteration is called a riff. When you add an instrument or effect to a riff, it creates a new riff inside your jam which then plays as a loop. The audio keeps playing, the interface keeps staring at you, encouraging you to keep jamming.

Endlesss’ desktop interface. Instrument selection at the left. At the top right, you can see the visual representation of the riffs in your jam, allowing you to go back a few steps.
Endlesss’ desktop interface. Instrument selection at the left. At the top right, you can see the visual representation of the riffs in your jam, allowing you to go back a few steps.

The app is also social, allowing users to participate in jams with others or just to listen in and explore riffs. There are prominent public jams that everyone can participate in as well as invite-only ones. Some of these jams lead to users sharing interesting moments of the jams (riffs) to the community, which can then be remixed and used to kick off another jam. Pretty cool considering some of the app’s users are popular producers themselves (Imogen Heap and Ninja Tune co-founder Matt Black joined Endlesss founder Tim Exile for livestreamed jams last year).

Endlesss Jams have chat rooms for participants (or observers) of jams to share thoughts, tips, expertise, or coordinate the direction of the jam.
Jams have chat rooms for participants (or observers) of jams to share thoughts, tips, expertise, or coordinate the direction of the jam.

How Endlesss redefines music

The social dimension, culturally speaking, is Endlesss’ most important aspect, because it changes the default meaning of music. For people who are not creators, music is something you listen to. It’s the same every time you hear it and it doesn’t change. If a remix or a cover version is made, it’s considered as ‘less real’ than the ‘original version’ (which in some cases may just be the most famous version, but not the first recording).

These are new qualities of music – at least as a default – introduced by the age of recorded music and mass consumerism. Music has become less participatory in that you don’t need anyone to play or sing a song if you want to hear it. The fact that it’s a new quality also means that it’s not inherent to music, meaning we can use the power of our devices (now easily amplified by connected AI) to experience music in new ways.

In the case of Endlesss, that means music is not a song, but an iterative jam. It’s something that happens, that invites participation, and that changes over time (though a snapshot of each iteration remains on the platform as a riff).

The age of non-static

This trend extends way beyond Endlesss and goes decades back to ‘affordable’ drum computers and samplers sparking the foundations of today’s most popular genres: house and hiphop. Then we got the rapid interchange of ideas and remixes enabled by Soundcloud which enshrined the platform’s cultural influence into genre names such as cloud rap. Outside of music, internet meme culture evolved through remixes and iteration, providing a non-linear visual culture detached from the channels of mass media and behaving according to the network reality of the internet.

They don't know where this song was originally sampled from People Line art Cartoon Text Head Arm Child Standing Human Organism
A recent example of a highly participatory meme format called They Don’t Know (and originally I Wish I Was At Home).

For the connection back to music, you only have to look at today’s hottest social media company, TikTok, which is completely based on remix culture. I’m not saying Endlesss is the TikTok of music production software; I’m saying that there’s a generation of people for whom the primary point of interaction with music is through a new set of interfaces that make music more than just its static, recorded self. It’s participatory and made to be engaging, like live music… but scalable.

What if iTunes didn’t happen the way it did?

We all love to think “what if…”

What if Napster had managed to get its legal issues resolved? Would there be a Spotify now? What ecosystem would have emerged?

Last week I listened to a podcast interview between Tim Ferriss and Tony Fadell (“the father of the iPod”). They went into a piece of music tech history I wasn’t familiar with. Turns out iTunes launched as a somewhat re-engineered version of a startup’s software Apple acquired. This startup was called SoundJam and they had made some music software that would run on Macs, and could sync libraries with Rio music players. There’s a screenshot of it below and it kind of reminds me of WinAmp which I avidly used until Spotify came around. Note the chrome UI element which was characteristic for iTunes for a long time.

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But there was another company Spotify was looking into acquiring. They were called Panic and developed a player named Audion. Also similar to WinAmp, it was more feature-rich than SoundJam and counted skins and visualizations among its features.

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Audion didn’t end up getting acquired by Apple, because they never ended up meeting. The Audion team was already in talks with AOL and wanted to bring them together with Apple for a meeting. That meeting got canceled when AOL couldn’t make it, and that was the end of that.

The team behind SoundJam became the first developers to work on iTunes and after being lead developer for iTunes, one of SoundJam’s creators is now Apple’s VP of consumer applications.

Every product has a philosophy behind it and sometimes this philosophy can change the interfaces of a whole space. Look at how Tinder changed dating with its left-right swipe interface: not only a newcomer like Bumble decided to go for that, but so did the incumbent OkCupid. Or take Snapchat and the way its format influenced Instagram Stories and TikTok. This happens in music too, where some of the biggest influences can be traced back to IRC and Napster.

I think iTunes’ legacy is playlists. It really put the playlist front and center, which later on was also at the base of early Spotify. Spotify initially had no way to save artists or albums: you could star tracks and drag stuff into playlists. That was it.

spotify-1253

It makes me so curious: if Apple had acquired Audion instead of SoundJam, would iTunes have been playlist-centric? Would the unbundling of the album have come about in the same way? Would we have the same type of ‘playlist economy’ as we see now?

If you’re curious to see what iTunes looked like upon launch, here’s a video of Steve Jobs demoing it (from 4:32 – excuse the pixels, we’re digging deep into YouTube’s archives):

Another obscure bit of Apple / iTunes history: watch Steve Jobs present the Motorola iTunes phone.