Repeating the same question over and over to cut through the nonsense and set the right priorities.
I regularly discuss digital strategy with bloggers, DIY musicians, managers or people running their own record label. My intention is to help people think more like startups, set clear goals, collect data and know how to act on data. There are useful frameworks for this, like the AARRR framework, but they take a while to get acquainted with.
Even in quick conversations, I want to give people something useful, uncomplicated. Youâre not going to be able to go through an entire framework with sets of metrics. When constructing narratives for brands, it helps to ask the question why? over and over. In digital strategy, this question is:
And then?
These two words wonât help you determine what to do, but they will help you validate your actions and uncover tasks that might need to be completed before acting. An example:
A Buddhist rapper, letâs call him Jimi Zendrix, desires to sell more merchandise. He knows that to do that, he needs to build a bond with his fans. He has the perfect solution: a newsletter.
And then? Jimi: then Iâm going to share what Iâm doing with my fans. And then? Jimi: then theyâre going to feel more engaged. And then? Jimi: then Iâll develop merch and link to it from my newsletter. And then? Jimi: then people are going to go there and buy the merch.
Each one of these answers reveals a set of tasks and extra questions.
How are you going to share what youâre doing with fans? Do you have time to prepare that every week? Are there easy ways to aggregate your social feeds like Instagram? Or do you need to use a different newsletter service for that?
How do you know that people feel more engaged? This means you have to make assumptions, before launching your newsletter, about open rates and click rates of fans. If theyâre really more engaged, you should also see it in the data in other places, so you need to have a way to track that.
How will you develop this merch? Can you use the data from your newsletter and other sources to develop better products? Whatâs the best way to display merch in mailinglists?
Can you track sales from when someone opens the email, clicks the link, looks around the site, to purchase? Are you using a merch shop that allows you to understand this and lets you optimize? For example, you may find that newsletter readers are more likely to buy hats. You may want to show hats first to people who click through from your newsletter, but not to normal visitors.
Loads of stuff to consider before launching your newsletter. Donât overwhelm yourself: the lesson is whatâs most important. Pick something you want to do, make an assumption, then test it. Repeat.
And then thereâs fallaciesâŚ
âAnd then?â doubles for âso what?â We often obsess with numbers called âvanity metricsâ, which are kind of pointless to focus on.
Try to imagine an answer for these:
I want 5,000 likes on Facebook. And then?
I want to have 1,000 visitors on my homepage. And then?
I want my tweets to be retweeted more. And then?
Your answers likely contain a hypothesis. You may think that getting more retweets leads to more followers leads to more fans leads to more sales. Now you have something to measure.
Do retweets lead to more followers? You may want to exclude spam accounts, or accounts that follow tens of thousands of users.
Do followers lead to more fans? How will you be able to tell?
Do those people who stumble upon your tweets eventually convert to paying customers?
Each of these have conversion ratios. So you go from a number to a much smaller number at the end. You may determine, before even getting started, that itâs not worth your time to research hashtags and write tweets that arenât even directly related to your music, just to get retweets.
âAnd then?â helps you cut through the bullshit and get your priorities straight. Donât spend too much time on things you canât measure or that are not part of a funnel.
Each step in your digital strategy needs to lead somewhere.
Matthew Adell about founding MetaPop and the surprising amount of money being left on the table by artists &Â labels.
Itâs 2016 and artists still have to think like lawyers when working on remixes. As someone whose music consumption primarily exists of remixes and sampled works, this is a very personal pet peeve of mine. The topic is, finally, getting some attention beyond lawsuits and takedown notices.
Earlier this year, a task force from the US Department of Commerce presented their findings of a 2-year study, suggesting that a compulsory license is undesirable. Instead, it recommends that the marketplace be left alone to figure this out. An upcoming key player in this marketplace, is MetaPop: a platform that connects labels, producers and remixers, co-founded by former Beatport CEO, Matthew Adell. To date, MetaPop has signed on over 5,000 labels and helps them clear and monetize fan remixes.
I spoke to Matthew about how it got started, why remixes are so important, and the future of the remix landscape and MetaPopâs place in it.
~
A year after selling Beatport to SFX, Matt decided to step down and take some time off. After some time spent relaxing, he started looking for a new challenge, asking:
âWhat is not getting solved, because people just think itâs hard?â
This question formed the basis of Mattâs search for intractable problems in the music business. Having always had an interest in derivative works he decided to investigate this problem, because âespecially in music, weâve seen the behaviour of people making remixes without authorisation really become explosive,â indicating that remixes account for 10% of all music listening on YouTube.
To find this out, he teamed up with Michael Mukhin, former CTO of Boomrat, and built a piece of technology called Remix Finder. The purpose of the technology was to understand derivative works online. To start, they created a huge index of remixes, mashups and DJ sets on YouTube. The index contains track information, metadata, and engagement metrics, and over time they could also start seeing the speed and frequency at which these derivatives were taken down. If at all.
âWhat we learned is while mashups have hits every now and then, there arenât a lot of mashups that generate a tremendous amount of engagement on YouTube. DJs have some of the tastemaker names in the world, but we found that other than after-movies from really big festivals, DJ sets werenât really generating that much engagement on a global scale. The work that was really generating the most engagement, and was leaving the most possible revenue on the table, was what we call the single-song remix.â
So as a starting point, they honed MetaPopâs technology on single song remixes and found that theyâre better at finding single song remixes than YouTubeâs Content ID tool. On YouTube alone, they identified over 8 million remixes that are currently not monetized for the original artist nor the remixer. This could mean hundreds of millions of dollars currently being left on the table, because according to MetaPop just 2.5 million of those fan remixes generate over a billion plays per month.
âSo, we have built a system now that allows rightsholders and remixers to come together on our platform to authorise and monetise all of these fan remixes.â
The platform is intended for all genres. In fact, they found that country music is one of the more popular remix genres on YouTube. But why should artists care about remixes in the first place? Matt explains how back in the day, one would have to press vinyl bootlegs to get remixes out there. It was a slow process.
Now music has become part of a constant flow of social media. As a musician, itâs nearly impossible to create enough music to feed this constant flow by yourself, he explains. For remixers, it can help them get noticed, and for the original artist it means an expanded fanbase, and increased revenue.
It makes sense. If you make country music, and someone makes an EDM remix of your track, suddenly youâre reaching another demographic that you otherwise wouldnât. MetaPopâs revenue split, 70/15/15 to the original artist, remixer and MetaPop respectively, can form a great incentive to monetize remixes, as opposed to taking them down.
If itâs so valuable to artists and there are hundreds of millions of dollars on the table, then why has nobody cracked this before?
âIt wasnât solved before, because there was no money. And itâs complex. Each country has its own laws for how to deal with derivatives.â The rise of streaming means that now there suddenly is a way to monetize. You wouldnât be able to track the vinyl bootlegs and monetize them, but with all the music platforms out there now, thereâs suddenly a lot more data.
Matt also understands that older generations of original artists were more wary of remixes, but this is becoming less the case today.
In the next 10 years, he expects remixes to become even more prevalent, because the software and hardware necessary to create them is becoming ever-accessible. In this landscape, weâll see much less takedowns than we do today, with there being more systems in place to monetize instead. This is where MetaPopâs place is, as a rights-clearing house for derivative works.
Thereâs still a long road ahead. The team currently consists of 5 people, with all the technology being built by 1. The thousands of labels, remixers, and original artists theyâve managed to attract and host is an impressive feat, and testament to many years of experience the team has throughout music & tech.
MetaPopâs currently in the process of raising a Series A investment round, so that they can start going global and bring in more music from more places. Besides single song remixes, they want to expand their footprint to cover other forms of derivatives, too, like mashups. The goal is, quite simple: to be able to monetize derivatives more widely and more efficiently.
Are MetaPop going to be able to crack this problem? Matt is confident.
âNobody else has the right mixture of experience, tech and relationships.â
~
Personally, Iâm happy to see people cracking away at this problem, because its importance is underestimated. There are 2 trends that make it urgent to create a legal base for derivative works:
Adaptive music: generations are growing up expecting interactivity from everything in their environment. This is the generation that is growing up trying to swipe magazines, televisions and windows, believing they should be able to interact with it. Their music is going to be adaptive to fit the situation and whims of the listener.
The remix is the internetâs language: whether itâs attaching a gif to a tweet, changing the caption on a meme, or filming yourself playbacking on the wildly popular Musically, we use the remix to express ourselves now. Music genres are increasingly behaving like memes: they often start with remixes by bedroom producers giving existing tracks another twist. Take vaporwave, moombahton, nightcore or even edm-trap as an example.
This is the way people interact with music now. The world shouldnât have ignored the inner city kids sampling in the 80s and 90s to create hiphop, but now thereâs just no getting around it.
Time for a quick lesson in free publicity. The increase of easy access to information and entertainment, combined with the democratisation of creation thereof, have led to the need for curation.
As an artist, you want to get your music noticed by curators, so it gets spread around further. But how do you get them to give a damn?
Curators follow curators
How do you think curators get their content? They follow other curators. It can be the DJ getting selected tracks from a trusted label rep, or a blogger learning about new releases through a mailinglist.
The easiest way to get noticed by top curators, is making sure you get noticed by smaller curators.
You have to be consistent about it. People have to see your name a few times before recognising you. Only then will they start giving a damn. How you do this depends on the category of music curation.
It will take time. It can be a year if you work hard at it – or even longer. If you donât work hard at it, it will never happen, unless you hire someone that already has the network.
The categories of music curation
The actual dynamics differ from category to category, but the basic jest is that you start small and try to move up the curation food chain. Follow the curators who you want to be noticed by closely, so that you can figure out where they get their music from.
Some domains to think of:
Radio airplay: start with local and genre-specific, and slowly work your way up. This is probably the slowest process of all, since nationwide airtime is highly valued.
Genre-specific publications: there are dozens of decent publications and blogs per genre, perhaps a bit less for younger genres.
Location-specific publications: can even be location/genre-specific, like a local rock magazine.
Channel curators: think YouTube, Soundcloud.
Theme publications: these are similar to genre publications, but generally broader. Might also report on fashion, or a certain set of genres and sounds that can be loosely grouped together.
Live DJs.
Playlist curators.
There are plenty of other areas to explore, but if youâve never really thought about this topic, then these are a good place to start.
The music business is a network business
You have to build your connections. Start with the more approachable curators. You can find them at events or in online communities like Facebook groups or Reddit. Your music might be really, really good, but when you hit the inbox of a curator, chances are itâs going to look like just another promo. They might not even listen to it.
If youâre intent on being able to arrange your own publicity, then check out the books Made to Stick and Contagious. Theyâre great books for learning how to construct strong stories to communicate ideas.
And a little hack: get a free Hubspot account, so you can see when people open your emails and whether theyâve clicked your links. It will help you to determine where youâre succeeding or failing, and adjust accordingly.
Are gamers the biggest millennial subculture in music? An exploration of âonline-onlyâ music.
With the rise of the internet, music has lost more than industry revenues. Music has lost its cultural monopoly for identity building. Music used to be the only fast way in which people could understand that there are other people around the world, with similar ideas and feelings. People who are just like them. Now, social media & internet communities have stripped music from that. A Google search can instantly connect you to people who think the same things you do. Music is simply not important for that anymore.
A large aspect of musicâs identity building nature used to be subcultures. Music was at the core, and perhaps the fuel for these subcultures. Subcultures still exist though, but not in the massive way they used to and have less appeal for the middle class. Many that remain are porous, intertwined with all the shades of âhipsterâ you can imagine.
But there is one massive subculture that remains: gamers. Itâs an identity and producers are providing it with a soundtrack.
Emblematic of the music culture among gamers is the label No Copyright Sounds. It was created to discover and provide royalty-free music for gaming videos. By now, it has grown out to a YouTube channel with millions of followers, and hundreds of thousands of followers on their other channels, adding up to millions. Theyâre now part of AEI, a full-stack music company which also runs a handful of other well-known music networks.
No Copyright Sounds is emblematic, because it comes from the subculture itself. It represents the gamer, which is the epitome of the digital native. They expect free access to music, which is why youâll see most of the music targeted at this audience offered as free downloads. They donât expect free music, because theyâre unwilling to pay. They spend lots of money on their computers and games. They want free music because of the convenience. You might pay for Spotify, but if you want to share music with other gamers, itâs still more effective to drop a YouTube link.
Another aspect of the digital native is that they exist in networks. If you want information to spread in networks, you have to remove the barriers. So to serve them, you have to go free-first. This means producers in genres specifically targeted at gamers are either looking for alternative revenue streams, or are happy to do it for the love of it. Most are gamers themselves: theyâre producing for people like them and get fulfilment from that. It can be that simple.
Perhaps the largest online-only genre is something called nightcore (nxc for short). Nightcore is a remix culture. Most commonly, producers take a pop or dance song, raise the BPM and pitch, do some additional editing and thatâs a wrap. Hereâs an example of Kelly Clarksonâs Since U Been Gone getting the nxc treatment. But sometimes the BPM is not raised, sometimes itâs rock or metal, sometimes itâs an original production. Itâs basically the opposite of vaporwave.
To some, nightcore edits can look like blatant rip-offs, but what theyâre doing is theyâre translating a song and sound to a different audience. Would I listen to Kelly Clarkson? No. Would I listen to nightcore Kelly Clarkson? Well⌠Yes. đ
The spectrum of music for gamers has a lot of gradients and you can go deep into niches. For instance, related to the gamer subculture is the phenomenon of furries, basically people that enjoy role-playing in custom-made anthropomorphic animal suits. Thereâs also an online equivalent, cyber furries, which is probably best represented by the Lapfox Trax label. All the producers on the label are avatars of the same guy.
Numbers mentioned earlier already showed that this is not an underground movement, and services are taking note. Twitch, a platform for streaming games, created a music section. Spotify has a whole section of playlists aimed at gamers.
The most exciting or inspiring thing about this subculture is that people can be themselves without compromise, make the music they believe in, and find audiences for it. Music that youâll never hear at a liveshow, like the Undertale soundtrack, but finds resonance with millions of people online. And then thereâs the cross-overs.
Due to the sugary nature of nightcore, it found lots of sympathy from artists inspired by the music of SOPHIE or the PC Music label. Both have been important to pop music in recent years, with the former producing for Madonna, and the latter resisting an offer from Skrillex. Their sounds can be described as a kind of artsy, over-the-top, hyperpop music. Nightcore artists are happy to incorporate that, to provide a more accessible version of the style:
Speaking about accessible⌠You know whatâs not accessible? Hardcore. Gamers enjoy the high energy offered by happy hardcore, an offshoot of 90s hardcore rave. So, that too, finds an audience:
Iâm by no means trying to make an exhaustive list. The music is diverse, and I want to focus on the trend and the business aspect.
The most important thing is: most of the people who listen to this music will never see these artists live. Partly because they just might not be interested in going out to a club, but also because thereâs just not really a scene for it, despite these artists having online followings of hundreds of thousands or millions.
Outsiders are taking note, but the music sceneâs very much defined as âby gamers, for gamersâ. While now itâs niche in business terms, and hidden from plain sight if youâre not involved with it, it has three trends going for it.
One is the rise of virtual reality and tools that allow for âcyber ravesâ.
The other is that itâs getting easier to sample, remix and edit tracks and distribute the music, without the fear that it will be taken down. The former CEO of Beatport now runs Metapop, which focuses on exactly this problem. And thereâs Dubset, which has partnerships with major streaming services.
With the trends going for it, this music subculture with all its subgenres, is about to blow up.
If so, allow me to break your music industry bubble for a second.
People outside the music business are often filled with astonishment by the music industryâs prevalent sense of entitlement.
âI made something, so I deserve money.â
Nonsense. What kind of business is that?
To me, the best way to think of yourself as an artist is as an entrepreneur or freelancer.
You have a business to build, an audience to identify & serve, and a competitive landscape to understand.
The landscape is hyper-competitive and choosing to participate in it, especially without identifying a good niche, means there is a good chance you will not be able to make a good living out of it.
If you make good music, appeal to a well-defined audience, and have a good business strategy for monetizing that relationship, whether thatâs through gigs, sales, Patreon or something else, then youâve got a good chance to make a good living.
But youâve got to keep working hard at it – just like an entrepreneur.
If you build enough, work at it long enough, you might be able to let the reins go and collect money on your past achievements – just like an entrepreneur.
But if you fail to identify your market or risks, youâll go broke – just like an entrepreneur.
A recent report commissioned by Dutch rights organisations and a labour union for musicians revealed that as much as 19% of Dutch musicians who live with a partner or family are able to make a living from music (PDF). Itâs as much as 31% for singles.
How cohabiting musicians (left) & single musicians (right) make a living. Green means they live from money generated by music. (Source: Pop, wat levert het op?)
Over 80% of businesses FAIL. Why should it be different for music?
Letâs take the 20-30% success rate for musicians who can make a living and think about how we can increase that.
First, we need to shatter the sense of entitlement, that has new artists entering the business with false expectations. It sets them up for failure.
We need management companies, record labels, booking agencies and rights societies who stress the importance of hard work and strategy. Who can communicate the necessity of reinventing yourself when your chosen path hits a dead end.
Many artists choose to continue down a dead end path. Becoming wedding DJs or playing covers of classic rock ân roll tracks at the opening of a friend’s shop in a local mall or something.
âThis is the music I play. I should be able to make a living off of it.â
No. Your entrepreneurial pursuit failed. Start over. Do something else. Pivot.
We need music schools to prepare artists for this.
Artists also need room to fail – just like entrepreneurs.
Look at startup accelerators and incubators, look at tax incentives or cuts from governments. Governments, businesses and the existing music industry could do more to give artists some room to breathe while they work on their music & business strategy.
Many initiatives already exist. Every country, and every city, having its own mechanics or ecosystem.
What Iâm particularly interested in are collaborations between people from different disciplines. Take artist managers, musicians, developers, tech entrepreneurs, designers, and organisations in music with a lot of data, like ticketing services, event organisers, collection societies, etc. Divide them into groups and give them 48 hours to hack something together.
We need:
More data to help artists & management to understand their markets and to develop strategy to address them;
More collaboration to make it easier for entrepreneurs to have their products piloted at scale;
More applied innovation – we can talk about blockchain, artificial intelligence, and virtual reality, but how do you apply it to your strategy?
Iâd love to live in a world where everyone who wants to make a living with music is able to do so. Itâs just not likely. But letâs expand that 20-30%. Letâs push it to 25-35% and then higher.
Rapid developments in technology means weâll be able to offer a greater diversity in experience. Itâs these developments that has led to a situation where more artists are simultaneously earning some money with music, than ever before.
Technology, combined with human creativity, can expand the market.
And that may be just what we need to help more artists make a living.
Hat tip to Marco Raaphorst for the link to the research report.
Every month this year has been the hottest in recorded history. Our weather is getting increasingly unpredictable, leading to more storms and floods in some areas and extreme droughts and forest fires in others.
The importance of selling music, or solving problems in the music business, pales in comparison with these issues.
However, these are not separate. We are the environment and our actions affect it. You can bet that last century’s vast record distribution networks made an important contribution to our CO2 output.
Can you guess how much of the CO2 footprint of a CD purchase comes from the ride between the consumerâs home and retail outlet?
10%?
Bit more.
Try something like 20-30%.
Well..
Still wrong.
Itâs 50%.
Comparison of six album purchase scenarios in GHG emissions (g CO2/album). Error bars represent 90% credible intervals from Monte Carlo analysis. (Source:Â Microsoft, Intel)
In economics, there is a concept called negative externalities which is defined as “economic activity that imposes a negative effect on an unrelated third party.â Take the CD trade as an example. It imposed a large negative effect on consumers, since the taxes levied around transportation do not raise enough money to reverse the effects of the associated CO2 output.
There are many remaining negative externalities in the music business, but technological innovation can help alleviate problems. Itâs in our economic interest to care about these negative externalities. If we can prevent scenarios with cataclysmic weather events, consumers might be a little more relaxed to go see a gig, buy some merch, and spend money on music instead of sand bags to protect their house against a flood. Iâm not exaggerating: floods in US coastal cities have more than doubled since the 1980s.
Transportation
As highlighted before, transportation is one of the biggest contributors to CO2 output. What can we do besides driving hybrids or environment-âfriendlyâ trucks?
The commute to the studio
Democratized means of production, such as production software and more affordable high quality digital equipment, have reduced the need for regular commutes to the studio. Studios may still be a necessity due to acoustics, sound isolation and for recording purposes, but you donât need them every step of the way.
Bedroom producers are polar bears’ best friends.
The commute to the office
What goes for musicians, definitely goes for most people with office jobs in the music business. If you want to be a sustainable company in this day and age, encourage everyone whoâs able to, to work from (close to) home at least 1-2 days a week.
VR and concerts
Perhaps the biggest contributors to the industryâs carbon emissions are live touring and festivals. They require equipment to be shipped, band members to be flown, and fans to be congregated. In the UK, audience travel is estimated to account for 43% of the industryâs gas emissions. The rise of electronic dance music and hiphop have helped to reduce the amount of equipment, and band members, being flown around. Virtual reality could be a next step.
While VR wonât replace the concert experience, it will offer a new competing experience. Being able to host virtual performances for fans worldwide, at a much lower cost, wonât just help reduce emissions, but can also alleviate some of the stress that a lifestyle of always being on tour entails. There has been much attention for mental health in music recently: perhaps VR can help?
VR, band practice and collaboration
Another reason why people come together a lot is for practice and collaboration. What if you could work together in a virtual environment, from the comfort of your homes? What if that virtual environment replicated a normal practice studio perfectly? What if that virtual environment could provide an experience richer, especially in terms of features, than a real world place?
Merch, 3D Printing, and distributed manufacturing
Another big cost to the industry, consumer, and environment: shipping merchandise. And letâs think beyond just the t-shirts. Some artists ship in large quantities, but most donât have the scale to mass-produce. They produce small batches, and then ship them around the world from where they live. It would arrive at your home or a local pick-up point. What if instead, you order something, itâs produced at the nearest 3D printer and you can pick it up from there. Not only are there less emissions involved, but it might be faster too. There are still questions about whether the amount of energy required offsets the carbon emissions, particularly for mass production, but some printers are performing great.
Services like 3D Hubs are already providing over 1 billion people with access to 3D printers within 10 miles from their home.
Developments in commercial flight
Even if we donât do anything, technology is being developed to make flight a lot cleaner. Biofuels may reduce carbon emissions by 36-85%. Longer term, lithium-ion batteries may allow for solar-powered flight. Weâre not quite there yet, but as can be seen in the video below, Elon Musk is optimistic that itâs doable.
Hardware
Now letâs tackle the impact of producing some of the equipment necessary for making music. Some instruments get resold, recycled, or re-used. A lot of hardware doesnât, though. According to a UN study, only 15.5% of âe-wasteâ gets recycled.
Furthermore, there is a lot of unused value sitting inside communities.
Self-driving vehicles promise to reduce the amount of cars we need to manufacture. Why? Because our cars are standing still 95% of the time. If cars are automated and shared, one car could service many more people on a day than it would normally do in a month.
Likewise, a lot of instruments and equipment go unused for vast amounts of time. What if there was a way to share this value with other musicians in your community? Think Airbnb for music equipment, which includes insurance. A startup called Demooz lets you borrow things to try before you buy. A startup with a broader use case, Peerby, lets you lend to and borrow from your neighbours. For free, or you can charge a fee.
So, maybe you donât have to go to the studio to use a good microphone and there is also no necessity for everyone to own all of the equipment they might need either.
Tents get left behind, a lot of water is used to clean, and cars queue up for hours to get into parking lots.
One of the most interesting music-related startup accelerators has to be Open-House. They look at how events can be made more efficient, but also how festivals can be used as a case study for how we organise humanitarian aid, or solving other societal issues.
Their startups include Kartent, a recyclable cardboard tent, Sanitrax, which makes the toilet experience more efficient, and Watt-Now, an energy monitoring system for festivals.
Each year, Amsterdam Dance Event organises a full day of presentations, panels and discussions about sustainability in events and dance music, called ADE Green. Other conferences should take note.
Conferences
Music industry events used to be the only way to handle business for a lot of people. Now, with fast communication, video calls, etc. that aspect has lost its importance. Even for networking, Slack channels like the Music Tech Network or good old Twitter might be a n easier way to get in touch with relevant people, and especially more CO2 efficient. Sure, online networking doesnât build the same trust relation as meeting face to face does, but collaboration does – and with such vast arsenals of tools at our disposal for online collaboration, there has never been a better chance to involve people from around the world in your projects.
And if you’re going to organise a conference that flies in a lot of people – at least dedicate some time to sustainability.
Using music to inspire
Music is powerful. When people come to a festival, for many, it will be an experience theyâll never forget.
Music is part of everyoneâs life. From Fortune 500 CEO to high school student, from plumber to engineer.
This gives us a unique position. We get to dictate the standard. We get to influence what is âcoolâ, and what should be considered normal.
Consider a large-scale, âgreenâ festival, such as the UK’s Shambala. Implementing these solutions has a ripple effect.
Music has the power to inspire movements and new societal norms. It can ignite revolutions.
Letâs use musicâs power to inspire people to build a greener world.
Extra resources
If you want to make the music business more sustainable, here are some amazing sets of resources to help you on your way.
Julie’s Bicycle: a global charity dedicated to making the creative industries sustainable. They have a vast set of resources ranging from guides, to fact sheets, and webinars.
Ouishare: a collaborative economy initiative that does research, connects people together, and shares advice and insight into how sharing can make us more resource efficient.
