February 3, 2025 • 23 mins
This episode discusses future of music for 2025. I focus on the potential impact of AI on Caribbean Music (Reggae, Dancehall and Soca), the importance of community engagement, and the evolving expectations from fans for live experiences.
• Exploring the rise of AI in music production
• Discussing the impact of AI-generated songs on artist integrity
• The shift towards royalty-free music and loss of artist connection
• Importance of community engagement in the music industry
• Expectations for live performances as ticket prices rise
• Rethinking merchandising strategies for deeper fan connections
• Navigating social media changes and its impact on promotion
• Emphasizing the need for authenticity and creativity in music
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Produced by Breadfruit Media
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
Hello and welcome everyone to another edition of
the Style and Vibes podcast withyours truly, mikayla.
It's been a minute.
I haven't recorded a podcast ina few months, so I took a
little bit of a break.
But thank you guys so much forjoining me here on today's
episode.
As you can see, it is just asolo episode with me, and today
(00:23):
I'm going to be talking about my2025 predictions trends.
Let's get right into it.
I don't have a whole lot, but Ithink for each one there is a
significant amount to talk about.
So I'm sharing what I thinkcould happen, what I would like
to see happen, based off currenttrends from 2024 going into
(00:46):
2025.
So let's kick it off with thefirst one AI in music.
I feel like AI is everywhere.
It is being talked about inevery industry.
It's disrupting everyone interms of workflows, how quickly
we can get to things, and reallyjust disrupting how we are
(01:07):
going to work.
And I think music and the musicindustry is no different, and
AI has probably had a hand insome of the automation for some
time, if you think about musicalgorithms and stuff like that.
Music algorithms, stuff likethat that probably has already
(01:28):
tapped into some sort ofartificial intelligence
technology to kind of do moodlistening and recommendations.
I think the biggest talk that westarted to hear in 2024 was
around AI-created music, and Ithink that's not new.
However, I think it's going tobe amplified with voices of
(01:49):
actual celebrities.
So one thing I think a lot ofpeople are going to be thinking
about, particularly when itcomes to artists, is how their
voice is potentially used andanalyzed to be fed into these AI
systems and how it's going tocreate new songs.
We've heard a few samples ofthis with like Tupac.
(02:14):
If you've been on the internet,you hear like remixes of songs
with like memes.
They're essentially memes, butthere could take on a bigger
element in terms of justoriginal music.
So can artists use their own AIvoices to create new music that
(02:38):
have a similar feel and stylefrom their catalog?
Of course, they actually haveto have a catalog in order to do
so.
The other point of reference forAI and AI within music is
original music composition, andso what we think about is
royalty-free type music, lo-fimusic, music that generally
(03:01):
doesn't necessarily need a faceto the actual sound, and I think
that is going to be even moreprevalent in terms of being able
to just use AI to create musicsingles that sound like similar
genres.
I recently checked out thiswebsite called Artlist I'll put
the link into the show notes andbasically it's royalty free.
(03:24):
Ai created music based ongenres, so of course you know I
had to look up reggae anddancehall and they still
categorize it as part of hip hop, which is interesting.
But I did click around and hearsome different songs and it
definitely sounds a lot likemaybe early 2000s ish type of
sound, but it wasn't completelyoff, and so I think, as music
(03:49):
continues to be released, the AIsystems like this one can study
genres and create more musicout of them, and I think the
thing about that is it's goingto impact artists that don't
necessarily have a catalog,newer artists especially.
So, if we're thinking about,like people who have one or two
(04:10):
hits and maybe don't have asignificant catalog, people are
getting used to listening to newmusic without actually having a
connection to the artist, and Ithink that that's the impact
that we could be really talkingabout for a little bit, because
if the connection to the artistisn't necessarily there and it's
(04:33):
really just playlisting, thenAI can take a bigger role and
for record companies, it allowsthem to make more money off of
artists that technically don'tneed a whole lot of marketing
and budget and promotion.
They're just personalities.
The other part is actual AIpersonas attached to music.
(04:56):
We already know that AI cancreate real life lookalikes for
videos and models and campaigns.
So would artists exclusively beable to be created, their
persona be AI, as well as theirmusic be AI, and then they just
be a complete AI persona only,and that could really take an
(05:37):
interesting turn.
I do think that going down thiswhole entire route begs to kind
of question does AI cheapenjingles or commercials or sounds
, even like myself, podcastingand different elements where you
need something music relatedbut you don't necessarily need a
persona to represent that.
(05:58):
Those are some things that canalso be taken advantage of,
advantaged of soundtracks.
Those are some things that canalso be taken advantage of.
Soundtracks, like it'sessentially a tool to kind of
support the bigger thing thatyou're doing, and that's
completely different.
But replacing artists, that's awhole different.
Other question I think that theindustry is going to continue to
(06:19):
talk about and, while it mightseem like a great idea, I do
think that we will lose some ofthat artistry that comes around,
especially with new artists anddiscovery and consumers really
being interested in connectingwith the person behind the music
and who's making the music.
(06:41):
I also think that AI willimpact the way consumers are
listening to music.
We're already seeing a lowerquality of production.
The barrier isn't necessarilyreally high sonically in terms
of being able to wanting toexperience that.
The only real difference youcan probably tell is like how
(07:01):
it's mixed and mastered, andthen when you hear it in loud
settings like a club or a partyor a concert, they definitely
give off a different vibe.
But if you're just listening inyour headphones and you just
have on a pretty good decent, Ithink the quality is kind of
being on par with what is beingreleased today, and so it's
(07:23):
going to be harder for consumersto tell what's authentic,
what's original and what soundsreally really good, whether it's
coming from a personality or anactual person.
So in this respect, I do thinkthat community is going to
become even more important forartists.
Communities, fans, call it whatyou will, but I think giving it
(07:47):
more of a community feels moreinvolved, and I think that
artists are definitely going tohave to be more involved with
their fans, bring them closer,have a connection and really
drive those in-personexperiences home.
People want to experiencegreatness, especially coming
(08:09):
from artists, especially withthe prices of tickets and
concerts and festivals and whatthese experiences really cost.
So I think that the quality ofstage shows and performances
have to increase, because peopleare going to be paying premium
dollar to see you and, yes, asan artist, you're going to be
(08:31):
touring but for those fans, theywant their hard earned money to
be spent well, and so I thinkthe barometer of how you perform
is going to need to be steppedup a bit.
I think one of the things thatI've always been annoyed by when
I see artists perform is thebacking tracks.
(08:52):
The backing tracks have thevoiceovers and they're literally
singing over their own tracks.
If I wanted to hear your track,I would have stayed home and
played it on the radio.
Also, if I wanted to sing yoursong, I would have stayed home
and listened to it on my stereoor whatever I listened to it on.
If I'm coming to see you inconcert, I don't know and I
(09:16):
speak for myself, but I know Ispeak for also a lot of people
where I don't want themicrophone to be in the crowd
the entire time.
I want to know what yourperformance is going to be like
in person, and if it is subpar,I think people are going to
complain even more, especiallywith the cost of tickets and
(09:37):
events rising and they're notgoing down.
I think the other thing that Iwould like to see but I'm not
sure if we're going to see it Iactually came across this clip
on social media and it was a DJwho was a hip hop DJ and he was
talking about how there are nolike festival experiences that
(09:58):
really centered the DJ in hiphop or dancehall.
I don't necessarily think thatthat's true.
I think that we do have DJspecific experiences, but it is
definitely a different vibe.
I think when you think aboutEDM type festivals, they're just
there to party and dance andthey will dance to songs whether
(10:22):
they know them or not.
It's really just going forenjoyment, whereas we party with
a little bit more intention.
But I also think that there isroom for the commandment of a
really good selector, a reallygood DJ, especially when it
comes to less bottle servicethemed parties you got me, day
(10:46):
parties, you got me wherethere's nobody just standing
around.
I think that that's the vibethat people want to experience
when they go out, and there hasbeen this longstanding
conversations around whethercell phones or tables sections
in parties really ruin theexperience of a party, and that
(11:08):
debate is still up for debate.
I'm sure it just depends on whatyou're looking for, but I think
if you are a DJ or a promoter,there is room and space for
events that are not centeredaround celebrity.
I think most people prioritizehaving a really good time and,
as I was stating before, if alot of artists' performances are
(11:31):
subpar, audiences wouldprobably prefer really, really,
really good, tight musicselections, and that doesn't
mean having 15 DJs in a threehour time slot.
It could be a longer time slotfor a really good DJ.
Maybe pay them a little bitmore.
They have a following.
(11:51):
We've seen this.
I think a lot of Soka DJs andthemed parties that have no need
for a celebrity in in the spacehave done really well.
Festivals are great as well, andif you want to have artists
there too, but at the core of it, people want to have a good
time to music and to reallyenjoy the vibes of it in its
(12:15):
entirety.
So I don't necessarily thinkthat artists are needed in terms
of bringing that star power toyour event, especially as a DJ.
I know the the artists chargejust to walk through.
They're not willing to perform.
Sometimes they perform one ortwo songs, but sometimes I'm in
the crowd and it really justbreaks up the party and so,
(12:39):
while it looks great from a FOMOperspective, it doesn't
necessarily give it the bestexperience.
I think enhancing thatin-person experience, when done
well, can be great.
We've seen themed parties forlike feds, for like carnivals as
well.
(12:59):
As you know, you go to Jamaica.
A lot of the all-inclusivesthere are just really really
well done.
So I think that the statesideevents could use some of that
energy, if you will, and reallybringing the music to back to
the forefront of communityspaces like parties and dance
(13:19):
hall, and just really gettingback to the core of why people
go out in the first place andthen rounding out the idea of
community.
A lot of artists already havewebsites and they have decent
social followings and even agood number of our artists have
merchandise.
But I do think we have theopportunity to enhance what that
(13:44):
merchandising experience is.
I think everybody should.
I think t-shirts, sweatshirts,that type of apparel that's
wearable is standard.
So I think if you have a saying, if you have.
You know things that you knowyou could put on a T-shirt.
You should definitely do that,sell that merch at these events.
(14:06):
But there's also opportunity tojust bring back even more
exclusive merchandising, whetherthat be aligning with a brand
that could launch a product onyour behalf and doing exclusive
drops.
A product on your behalf anddoing exclusive drops giving
your fans something exclusivethat everybody can't get is
definitely going to round outthat community element for you
(14:29):
as an artist.
So think about more creativeways, whether it be a magazine
that is dedicated to youron-road experience, things that
you're not going to find out ininterviews and blogs, and things
like that that fans wouldactually want to have as a
keepsake.
Thinking about partnerships Iknow vinyl is still really big
(14:52):
and it's not enough to.
In my opinion, re-releases aregreat, but not when you release
it at the beginning of the yearand then re-release it in a year
or two with a few new tracks.
I think that that to me it'sbecome sort of standard,
especially for bigger artists.
But what that does for a lot offans is it caused dissension,
(15:14):
like not every fan is going tobuy your music twice and again
those songs are probably justleftovers that you didn't want
on the album.
At least that's how I feel.
Maybe you guys don't feel thatway as consumers, but that's
kind of how I feel, especiallywhen you just release an album
and then a year, year and a halflater you're releasing one with
(15:37):
bonus tracks.
Those bonus tracks were leftoff the album in the first place
probably, or they weren't forthis project initially.
So I think that we could getmore, a little bit more creative
when it comes to merchandisingand unique experiences.
I think one of my favorites thatI have seen was when Chris
(15:57):
Brown was doing all of theseclub-like pictures with his fans
.
Yes, they were pretty costly.
However, he definitely mademoney on that, but the
experience that each fan got helooked like he was like taking
each one to prom.
He posed however they wantedhim in the picture.
Of course, they got sohilarious and funny and engaging
(16:21):
, but those fans are going toremember that experience for a
really long time.
So I think examples like thatthat we have seen do a pop up
shop.
I know Budja had a pop up shopin Florida when he was starting
his tour and that did reallywell.
There are pop-up experiencesfor fans, not for the media.
(16:45):
Create experiences for fans.
Recently, bad Bunny released analbum and he did a pop-up show
in the New York City subway.
So it's things that surpriseand delight your fans, because
the fans will then share it withsocial media and then it
becomes a story.
So those are like creativeangles that we can kind of look
(17:09):
to in terms of giving exclusiveexperiences to fans.
Now, we all know that socialmedia still plays a huge part in
interacting with your fans andcommunity, connecting on new
music and sharing that with thepublic as well.
But there have been so manychanges with regards to social
(17:30):
media.
By the time this airs, we'lleither have TikTok or we won't,
but I think that the impact ofunderstanding whether we have it
, especially based here in theUS we may or may not have it.
What does that do for theconsumers who discovered your
music through these social mediaapps?
(17:51):
How are we bringing them alongand taking them and being more
engaged offline?
I think going back to thatcommunity aspect, engaging your
fans and your core audiences, isgoing to be key.
So what are you doing outsideof these social networks?
These social networks aredistribution channels, awareness
(18:12):
drivers and can really pick upsteam, so you want to be able to
use it as an artist to sharewhat is happening.
However, we know that theseplatforms are primarily pay to
play and the longer you keep theattention of consumers in the
apps, that's what the apps andthe algorithms really want.
(18:36):
So finding creative ways toconnect with that audience on
social media is going to be keyand I think really stepping into
that content creation and to me, if you're an artist, you can
create any type of art and videoand visuals is a part of that
journey for you.
So don't look at it assomething that you have to do.
(19:00):
Look at it as it's anothercreative tool that allows people
to see this other creativething that I can do If you can
create beautiful music and songs, you can create the storylines
that come with it.
I think the timelines and theresources are definitely going
(19:20):
to be condensed, going to becondensed.
We're already seeing reallygood examples of great content
being created by some of ourartists or artists really
utilizing social media.
Social media is a tool and Ithink that we tend to forget
that and that tool for artistsis to connect with fans.
For example, on Instagram, youcan have close groups or close
(19:42):
friends.
Do you have a good amount ofclose fans that you want to add
to a particular group and dropexclusives for them or even use
the subscription in a way thatconnects them with exclusive
content that they wouldn't getotherwise.
So not only can you monetize,but you can truly think about
(20:03):
all the things that you canbring to your consumers and your
fans in your community.
So everything is getting harder, everything is being more
challenged by all the thingsthat are happening.
From an industry perspective,it's just condensing.
So technology is really playinga part.
Music and AI are going tocontinue to be explored.
(20:25):
So, using these things as toolsto kind of enhance what you're
bringing to the table as artistsand then as consumers, I think
we should be more cognizant ofhow we consume all of this
content.
Consumers are going to reallycurate what is in their feed and
what they want to be tuned into.
(20:46):
So artists have to beintentional, because consumers
are going to become even moreintentional as well.
So, all in all, I think thatwe're all going to have to get
creative.
As fans of music, as creatorsof music, as people in the music
industry.
We're all kind of strugglingwith different aspects of how
(21:08):
fast the changes are happening,but I do think that this is what
breeds creativity, this is whatbreeds connection and this is
what is going to carry us intothe next phase of whatever music
from a digital perspective isgoing to look like.
So I think being aware of AI andits impact on music, really
(21:32):
doubling down on community andfans, ensuring that your fans
have a connection with you asbest as possible and utilizing
social media to the best of yourability, but also having a
platform outside of social mediato connect with your fans,
whether that be a newsletterthat you send, I would love to
(21:55):
see like a diary of some sort.
I remember fan clubs were athing and they kind of just went
away and got replaced by fanpages that just post content of
your favorite artists.
But maybe it's time to get backto artists having a one-on-one
connection, doing blog postsabout being on the road and
sending that to their email list, even if it's only a couple
(22:18):
hundred or a couple thousandpeople.
But newsletters have alsobecome a way of gaining greater
connection with fans andconsumers on a regular basis.
So, whatever it is, we all gotto figure it out.
I'm here trying to figure it outas a media platform, podcaster.
Music and artists industry aretrying to figure it out as well.
(22:42):
So I think it's something thatwe're all going to be paying
attention to in 2025.
But let me know your thoughts,make sure you share your
comments.
You can comment on any of oursocial platforms, at Style and
Vibes, or you can send me a note, send me an email, send me a
message.
Just click the link.
There's a link in the shownotes of the podcast.
(23:05):
So until then, next time, lietame peeps.
Hello and welcome everyone to another edition of
the Style and Vibes podcast withyours truly, mikayla.
It's been a minute.
I haven't recorded a podcast ina few months, so I took a
little bit of a break.
But thank you guys so much forjoining me here on today's
episode.
As you can see, it is just asolo episode with me, and today
(00:23):
I'm going to be talking about my2025 predictions trends.
Let's get right into it.
I don't have a whole lot, but Ithink for each one there is a
significant amount to talk about.
So I'm sharing what I thinkcould happen, what I would like
to see happen, based off currenttrends from 2024 going into
(00:46):
2025.
So let's kick it off with thefirst one AI in music.
I feel like AI is everywhere.
It is being talked about inevery industry.
It's disrupting everyone interms of workflows, how quickly
we can get to things, and reallyjust disrupting how we are
(01:07):
going to work.
And I think music and the musicindustry is no different, and
AI has probably had a hand insome of the automation for some
time, if you think about musicalgorithms and stuff like that.
Music algorithms, stuff likethat that probably has already
(01:28):
tapped into some sort ofartificial intelligence
technology to kind of do moodlistening and recommendations.
I think the biggest talk that westarted to hear in 2024 was
around AI-created music, and Ithink that's not new.
However, I think it's going tobe amplified with voices of
(01:49):
actual celebrities.
So one thing I think a lot ofpeople are going to be thinking
about, particularly when itcomes to artists, is how their
voice is potentially used andanalyzed to be fed into these AI
systems and how it's going tocreate new songs.
We've heard a few samples ofthis with like Tupac.
(02:14):
If you've been on the internet,you hear like remixes of songs
with like memes.
They're essentially memes, butthere could take on a bigger
element in terms of justoriginal music.
So can artists use their own AIvoices to create new music that
(02:38):
have a similar feel and stylefrom their catalog?
Of course, they actually haveto have a catalog in order to do
so.
The other point of reference forAI and AI within music is
original music composition, andso what we think about is
royalty-free type music, lo-fimusic, music that generally
(03:01):
doesn't necessarily need a faceto the actual sound, and I think
that is going to be even moreprevalent in terms of being able
to just use AI to create musicsingles that sound like similar
genres.
I recently checked out thiswebsite called Artlist I'll put
the link into the show notes andbasically it's royalty free.
(03:24):
Ai created music based ongenres, so of course you know I
had to look up reggae anddancehall and they still
categorize it as part of hip hop, which is interesting.
But I did click around and hearsome different songs and it
definitely sounds a lot likemaybe early 2000s ish type of
sound, but it wasn't completelyoff, and so I think, as music
(03:49):
continues to be released, the AIsystems like this one can study
genres and create more musicout of them, and I think the
thing about that is it's goingto impact artists that don't
necessarily have a catalog,newer artists especially.
So, if we're thinking about,like people who have one or two
(04:10):
hits and maybe don't have asignificant catalog, people are
getting used to listening to newmusic without actually having a
connection to the artist, and Ithink that that's the impact
that we could be really talkingabout for a little bit, because
if the connection to the artistisn't necessarily there and it's
(04:33):
really just playlisting, thenAI can take a bigger role and
for record companies, it allowsthem to make more money off of
artists that technically don'tneed a whole lot of marketing
and budget and promotion.
They're just personalities.
The other part is actual AIpersonas attached to music.
(04:56):
We already know that AI cancreate real life lookalikes for
videos and models and campaigns.
So would artists exclusively beable to be created, their
persona be AI, as well as theirmusic be AI, and then they just
be a complete AI persona only,and that could really take an
(05:37):
interesting turn.
I do think that going down thiswhole entire route begs to kind
of question does AI cheapenjingles or commercials or sounds
, even like myself, podcastingand different elements where you
need something music relatedbut you don't necessarily need a
persona to represent that.
(05:58):
Those are some things that canalso be taken advantage of,
advantaged of soundtracks.
Those are some things that canalso be taken advantage of.
Soundtracks, like it'sessentially a tool to kind of
support the bigger thing thatyou're doing, and that's
completely different.
But replacing artists, that's awhole different.
Other question I think that theindustry is going to continue to
(06:19):
talk about and, while it mightseem like a great idea, I do
think that we will lose some ofthat artistry that comes around,
especially with new artists anddiscovery and consumers really
being interested in connectingwith the person behind the music
and who's making the music.
(06:41):
I also think that AI willimpact the way consumers are
listening to music.
We're already seeing a lowerquality of production.
The barrier isn't necessarilyreally high sonically in terms
of being able to wanting toexperience that.
The only real difference youcan probably tell is like how
(07:01):
it's mixed and mastered, andthen when you hear it in loud
settings like a club or a partyor a concert, they definitely
give off a different vibe.
But if you're just listening inyour headphones and you just
have on a pretty good decent, Ithink the quality is kind of
being on par with what is beingreleased today, and so it's
(07:23):
going to be harder for consumersto tell what's authentic,
what's original and what soundsreally really good, whether it's
coming from a personality or anactual person.
So in this respect, I do thinkthat community is going to
become even more important forartists.
Communities, fans, call it whatyou will, but I think giving it
(07:47):
more of a community feels moreinvolved, and I think that
artists are definitely going tohave to be more involved with
their fans, bring them closer,have a connection and really
drive those in-personexperiences home.
People want to experiencegreatness, especially coming
(08:09):
from artists, especially withthe prices of tickets and
concerts and festivals and whatthese experiences really cost.
So I think that the quality ofstage shows and performances
have to increase, because peopleare going to be paying premium
dollar to see you and, yes, asan artist, you're going to be
(08:31):
touring but for those fans, theywant their hard earned money to
be spent well, and so I thinkthe barometer of how you perform
is going to need to be steppedup a bit.
I think one of the things thatI've always been annoyed by when
I see artists perform is thebacking tracks.
(08:52):
The backing tracks have thevoiceovers and they're literally
singing over their own tracks.
If I wanted to hear your track,I would have stayed home and
played it on the radio.
Also, if I wanted to sing yoursong, I would have stayed home
and listened to it on my stereoor whatever I listened to it on.
If I'm coming to see you inconcert, I don't know and I
(09:16):
speak for myself, but I know Ispeak for also a lot of people
where I don't want themicrophone to be in the crowd
the entire time.
I want to know what yourperformance is going to be like
in person, and if it is subpar,I think people are going to
complain even more, especiallywith the cost of tickets and
(09:37):
events rising and they're notgoing down.
I think the other thing that Iwould like to see but I'm not
sure if we're going to see it Iactually came across this clip
on social media and it was a DJwho was a hip hop DJ and he was
talking about how there are nolike festival experiences that
(09:58):
really centered the DJ in hiphop or dancehall.
I don't necessarily think thatthat's true.
I think that we do have DJspecific experiences, but it is
definitely a different vibe.
I think when you think aboutEDM type festivals, they're just
there to party and dance andthey will dance to songs whether
(10:22):
they know them or not.
It's really just going forenjoyment, whereas we party with
a little bit more intention.
But I also think that there isroom for the commandment of a
really good selector, a reallygood DJ, especially when it
comes to less bottle servicethemed parties you got me, day
(10:46):
parties, you got me wherethere's nobody just standing
around.
I think that that's the vibethat people want to experience
when they go out, and there hasbeen this longstanding
conversations around whethercell phones or tables sections
in parties really ruin theexperience of a party, and that
(11:08):
debate is still up for debate.
I'm sure it just depends on whatyou're looking for, but I think
if you are a DJ or a promoter,there is room and space for
events that are not centeredaround celebrity.
I think most people prioritizehaving a really good time and,
as I was stating before, if alot of artists' performances are
(11:31):
subpar, audiences wouldprobably prefer really, really,
really good, tight musicselections, and that doesn't
mean having 15 DJs in a threehour time slot.
It could be a longer time slotfor a really good DJ.
Maybe pay them a little bitmore.
They have a following.
(11:51):
We've seen this.
I think a lot of Soka DJs andthemed parties that have no need
for a celebrity in in the spacehave done really well.
Festivals are great as well, andif you want to have artists
there too, but at the core of it, people want to have a good
time to music and to reallyenjoy the vibes of it in its
(12:15):
entirety.
So I don't necessarily thinkthat artists are needed in terms
of bringing that star power toyour event, especially as a DJ.
I know the the artists chargejust to walk through.
They're not willing to perform.
Sometimes they perform one ortwo songs, but sometimes I'm in
the crowd and it really justbreaks up the party and so,
(12:39):
while it looks great from a FOMOperspective, it doesn't
necessarily give it the bestexperience.
I think enhancing thatin-person experience, when done
well, can be great.
We've seen themed parties forlike feds, for like carnivals as
well.
(12:59):
As you know, you go to Jamaica.
A lot of the all-inclusivesthere are just really really
well done.
So I think that the statesideevents could use some of that
energy, if you will, and reallybringing the music to back to
the forefront of communityspaces like parties and dance
(13:19):
hall, and just really gettingback to the core of why people
go out in the first place andthen rounding out the idea of
community.
A lot of artists already havewebsites and they have decent
social followings and even agood number of our artists have
merchandise.
But I do think we have theopportunity to enhance what that
(13:44):
merchandising experience is.
I think everybody should.
I think t-shirts, sweatshirts,that type of apparel that's
wearable is standard.
So I think if you have a saying, if you have.
You know things that you knowyou could put on a T-shirt.
You should definitely do that,sell that merch at these events.
(14:06):
But there's also opportunity tojust bring back even more
exclusive merchandising, whetherthat be aligning with a brand
that could launch a product onyour behalf and doing exclusive
drops.
A product on your behalf anddoing exclusive drops giving
your fans something exclusivethat everybody can't get is
definitely going to round outthat community element for you
(14:29):
as an artist.
So think about more creativeways, whether it be a magazine
that is dedicated to youron-road experience, things that
you're not going to find out ininterviews and blogs, and things
like that that fans wouldactually want to have as a
keepsake.
Thinking about partnerships Iknow vinyl is still really big
(14:52):
and it's not enough to.
In my opinion, re-releases aregreat, but not when you release
it at the beginning of the yearand then re-release it in a year
or two with a few new tracks.
I think that that to me it'sbecome sort of standard,
especially for bigger artists.
But what that does for a lot offans is it caused dissension,
(15:14):
like not every fan is going tobuy your music twice and again
those songs are probably justleftovers that you didn't want
on the album.
At least that's how I feel.
Maybe you guys don't feel thatway as consumers, but that's
kind of how I feel, especiallywhen you just release an album
and then a year, year and a halflater you're releasing one with
(15:37):
bonus tracks.
Those bonus tracks were leftoff the album in the first place
probably, or they weren't forthis project initially.
So I think that we could getmore, a little bit more creative
when it comes to merchandisingand unique experiences.
I think one of my favorites thatI have seen was when Chris
(15:57):
Brown was doing all of theseclub-like pictures with his fans
.
Yes, they were pretty costly.
However, he definitely mademoney on that, but the
experience that each fan got helooked like he was like taking
each one to prom.
He posed however they wantedhim in the picture.
Of course, they got sohilarious and funny and engaging
(16:21):
, but those fans are going toremember that experience for a
really long time.
So I think examples like thatthat we have seen do a pop up
shop.
I know Budja had a pop up shopin Florida when he was starting
his tour and that did reallywell.
There are pop-up experiencesfor fans, not for the media.
(16:45):
Create experiences for fans.
Recently, bad Bunny released analbum and he did a pop-up show
in the New York City subway.
So it's things that surpriseand delight your fans, because
the fans will then share it withsocial media and then it
becomes a story.
So those are like creativeangles that we can kind of look
(17:09):
to in terms of giving exclusiveexperiences to fans.
Now, we all know that socialmedia still plays a huge part in
interacting with your fans andcommunity, connecting on new
music and sharing that with thepublic as well.
But there have been so manychanges with regards to social
(17:30):
media.
By the time this airs, we'lleither have TikTok or we won't,
but I think that the impact ofunderstanding whether we have it
, especially based here in theUS we may or may not have it.
What does that do for theconsumers who discovered your
music through these social mediaapps?
(17:51):
How are we bringing them alongand taking them and being more
engaged offline?
I think going back to thatcommunity aspect, engaging your
fans and your core audiences, isgoing to be key.
So what are you doing outsideof these social networks?
These social networks aredistribution channels, awareness
(18:12):
drivers and can really pick upsteam, so you want to be able to
use it as an artist to sharewhat is happening.
However, we know that theseplatforms are primarily pay to
play and the longer you keep theattention of consumers in the
apps, that's what the apps andthe algorithms really want.
(18:36):
So finding creative ways toconnect with that audience on
social media is going to be keyand I think really stepping into
that content creation and to me, if you're an artist, you can
create any type of art and videoand visuals is a part of that
journey for you.
So don't look at it assomething that you have to do.
(19:00):
Look at it as it's anothercreative tool that allows people
to see this other creativething that I can do If you can
create beautiful music and songs, you can create the storylines
that come with it.
I think the timelines and theresources are definitely going
(19:20):
to be condensed, going to becondensed.
We're already seeing reallygood examples of great content
being created by some of ourartists or artists really
utilizing social media.
Social media is a tool and Ithink that we tend to forget
that and that tool for artistsis to connect with fans.
For example, on Instagram, youcan have close groups or close
(19:42):
friends.
Do you have a good amount ofclose fans that you want to add
to a particular group and dropexclusives for them or even use
the subscription in a way thatconnects them with exclusive
content that they wouldn't getotherwise.
So not only can you monetize,but you can truly think about
(20:03):
all the things that you canbring to your consumers and your
fans in your community.
So everything is getting harder, everything is being more
challenged by all the thingsthat are happening.
From an industry perspective,it's just condensing.
So technology is really playinga part.
Music and AI are going tocontinue to be explored.
(20:25):
So, using these things as toolsto kind of enhance what you're
bringing to the table as artistsand then as consumers, I think
we should be more cognizant ofhow we consume all of this
content.
Consumers are going to reallycurate what is in their feed and
what they want to be tuned into.
(20:46):
So artists have to beintentional, because consumers
are going to become even moreintentional as well.
So, all in all, I think thatwe're all going to have to get
creative.
As fans of music, as creatorsof music, as people in the music
industry.
We're all kind of strugglingwith different aspects of how
(21:08):
fast the changes are happening,but I do think that this is what
breeds creativity, this is whatbreeds connection and this is
what is going to carry us intothe next phase of whatever music
from a digital perspective isgoing to look like.
So I think being aware of AI andits impact on music, really
(21:32):
doubling down on community andfans, ensuring that your fans
have a connection with you asbest as possible and utilizing
social media to the best of yourability, but also having a
platform outside of social mediato connect with your fans,
whether that be a newsletterthat you send, I would love to
(21:55):
see like a diary of some sort.
I remember fan clubs were athing and they kind of just went
away and got replaced by fanpages that just post content of
your favorite artists.
But maybe it's time to get backto artists having a one-on-one
connection, doing blog postsabout being on the road and
sending that to their email list, even if it's only a couple
(22:18):
hundred or a couple thousandpeople.
But newsletters have alsobecome a way of gaining greater
connection with fans andconsumers on a regular basis.
So, whatever it is, we all gotto figure it out.
I'm here trying to figure it outas a media platform, podcaster.
Music and artists industry aretrying to figure it out as well.
(22:42):
So I think it's something thatwe're all going to be paying
attention to in 2025.
But let me know your thoughts,make sure you share your
comments.
You can comment on any of oursocial platforms, at Style and
Vibes, or you can send me a note, send me an email, send me a
message.
Just click the link.
There's a link in the shownotes of the podcast.
(23:05):
So until then, next time, lietame peeps.
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