thereport ISSUE 417 | 01 SEPTEMBER 2018

Islands in the Streams Why country music’s isolation from the streaming boom is ending in 2018 1 As big statements go, turning Kansas felds into giant crop circle art of country musicians Luke Bryan, Kelsea Ballerini and Jason Aldean takes some beating. Spotify’s collaboration this July with artist ISSUE 417 REPORT 01.09.18 Stan Herd aimed to literally stamp the streaming service’s commitment to country music onto the rural landscape of America. But Spotify is just one of a number of streaming services jostling for the hearts of country artists and their fans. Country may have been a slow starter in the streaming world, but in 2018 it’s making some waves. This issue, Music Ally explains why.

Country’s new roads Nashville is leaning in to streaming, and vice versa, with a new wave of artists making their mark digitally

oes country music have a problem not even bothering with a question mark. on surfacing country. There is a need the genre compared to others, they are less with streaming? A crop of headlines “Country music struggles to keep up with to solve discoverability problems and satisfied with their ability to discover new Din late 2017 made for unsettling streaming era,” was Billboard’s take. place more and newer titles and artists Country Music as well in today’s streaming reading in Nashville. Were they right? A report published in on services with as much prominent experience.” “Does country have a discoverability October 2017 by Nashville industry body the placement and recommendations as The CMA report suggested that, for

report problem on streaming?” asked USA Today. Country Music Association (CMA) spelled out possible,” claimed the report. many country fans, the world of streaming “Country music has a big problem when some of its community’s concerns. “Not only are country music fans less was still somewhat intimidating because it comes to streaming,” suggested Forbes, “Streaming services are under-delivering satisfied with service-created playlists for they didn’t understand the features or the 2

ISSUE 417 01.09.18 REPORT Progress in 2017

benefits of streaming apps and found them too hard to use. Hot country Meanwhile, research firm Nielsen’s As music:)ally was writing this report, 2017 Year-End Music Report for the US Spotify’s Hot Country playlist crossed a highlighted some of the challenges facing new milestone: five million followers. the country genre. That may still be some way behind “Country traditionally trails other genres RapCaviar (10.2m) and Viva Latino (8.6m) in terms of overall streaming consumption but it’s hot on the heels of dance-focused and audience penetration,” noted the Mint (5.2m) in Spotify’s roster of big- report. hitter playlists. And impressive consider- Nielsen’s stats showed that in 2017, ing the more global appeal of the music country accounted for 11.5% of total album included in those other playlists. sales in the US, third behind rock (34.6%) and R&B/hip-hop (14.6%). It was actually the second biggest genre for physical being late adopters to almost everything!” album sales with a 13.1% share. chuckles John Marks, the radio-industry When it came to on-demand audio and veteran who joined Spotify in 2015 to lead “A surprising fact no one points out is that country streaming growth has outperformed video streams, country’s market share was its country programming efforts. the industry growth percentage for the past two years and it looks like it’s a good position just 5.5%, placing it fifth behind R&B/hip- “In the formats, as far back as I go, it’s to do it again,” says Annie Ortmeier of UMG Nashville. hop (29.1%), rock (15.1%), pop (12.9%) and always been last; and that’s going to be the Nielsen’s latest figures do show some interesting trends: for example, that the share of Latin (8%). With a streaming market-share nature as it goes forward, including into the country consumption accounted for by on-demand audio streams has grown from 39% in half its album sales share, country (like streaming world.” 2017 to 55% in the first half of 2018. rock, in fairness) does have a streaming That’s still less than the industry average of 66%, but country has overtaken rock on this challenge. OWNERSHIP LINGERS ON metric, with the latter genre’s on-demand audio-streaming percentage growing from 40% Troy Tomlinson, president and CEO at in 2017 to 49% in the first half of 2017. NOT THE EARLIEST ADOPTERS Sony/ATV Music Publishing Nashville, Nielsen’s figures also show that country has grown its share of total on-demand There were bright spots in the two reports. agrees, noting that ownership – whether of streams – audio and video – from 5.5% in 2017 to 7.1% in the first half of 2018. The caveat: The CMA pointed out that country physical or digital music – has been a key cross-genre collaborations like ‘Meant To Be’ and ‘The Middle’ are part of that trend: it’s “continues to exceed industry averages for facet of country fandom. not just organic growth for “pure” country tracks. year over year growth in audio streaming “In the early streaming days, consumers consumption”, while Nielsen cited 434m weren’t rushing out at the pace of other 2017 streams of Sam Hunt’s ‘Body Like Goodman expanded on the CMA’s a 10 percent business. Until we do, that genre consumers to embrace streaming. A Back Road’ track as evidence that point about streaming being intimidating technology disruption and that squeeze on For a while, I don’t think any of us were the genre could “reach new heights” on for country’s core audience compared our revenue [will] continue to be a primary freaking out about that: our fans were still streaming services. to fans of many other genres. “For our source of struggle.” buying physical. They were still purchasing Even so, the challenges of streaming demographic, it’s not as intuitive,” he said. The challenge of migration from one music!” he says. were well understood by the tight-knit “It’s one of the things that we’re really format to another isn’t a new one for the “But as streaming began to obviously ‘Music City’ community, as shown by a having to struggle with and deal with as Nashville industry, though, as is made clear be the means of consuming music for the

report speech given by Sony Music Nashville boss an industry, because the most important repeatedly to music:)ally in interviews for future, then the fears started to slip in. We Randy Goodman in September 2017, just thing for us over the next several years is this report. continued to see physical sales declining, before the CMA report was published. to get our streaming to scale, at least to “The country audience is renowned for but we weren’t seeing country streaming the 3

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numbers going up.” some point. That’s what’s so exciting now: average, that’s encouragement for us.” Tomlinson adds that there have been knowing that it’s going to happen.” Tomlinson, like other interviewees, cites Annie Ortmeier, some practical barriers for streaming to It has started already. Troy Tomlinson the loyalty and passion of country music Universal Music Group Nashville take hold within country’s core audience: points to the fact that last year, on- fans as inspiration. particularly access to reliable broadband demand streaming of country grew by “Our hope was always that the same (or the lack of it) in the genre’s rural almost 55%, outpacing the overall market’s sort of fervour would be applied to this heartlands in the US. 43% increase. He also doesn’t dodge the transition now, to streaming. Hope is not a “When you’re in Wyoming or Colorado obvious response to that statistic. strategy, but it was the only strategy that or parts of Texas and Iowa, you’re in these “Now the first thing you say there is we had!” he laughs. “2017 is the first year areas where many of their citizens would ‘Well hell, y’all had the room for growth! we could see that happening in a real way.” consider themselves country fans; but if And it’s true: country consumers were they can’t get reliable broadband – good, lagging behind for streaming for several THE MARKET-SATURATION solid connections – streaming is not going years, and yes we did have the availability BUSTERS to be their choice!” he says. to grow because of that reluctance for “I still have a home in the country: it’s country consumers to embrace streaming,” This leads in to an important thing to only 45 miles outside Nashville, but it’s only says Tomlinson. understand about country music and been within the last three years that we’ve “But 2017 was the first year we’d seen streaming in 2018: it’s a very important had great, reliable broadband service. good, solid, substantial and out-of-character growth area for the streaming services in I may be out on my own here, but I think growth – and if we beat the industry the world’s biggest recorded music market it’s a factor.” – the US. According to local industry body the SLOW MOVERS, BIG IMPACT RIAA, paid music subscriptions in the US The story of the country audience isn’t just grew from 10.8m in 2015 to 22.7m in 2016 about late adoption of new music formats and 35.3m in 2017. and technologies, however. It’s about a big That’s year-on-year growth of 40%, 110% impact when the migration does eventually and 56% respectively, and while the sheer happen. size of that 2016 spike means nobody is The growth of streaming globally has been “Historically, country music always lags panicking about the rate of growth nearly incredibly exciting to watch over the last behind in terms of technology adoption, halving in 2017, there is still a keen sense – few years. It has impacted our artists audi- but it always catches up,” said Randy certainly from streaming services – to fend ences for touring in markets such as the Goodman in his September 2017 speech. off the spectre of market saturation. UK, Ireland, Germany and Australia. “Country fans have been slower to In that context, what service wouldn’t Kacey Musgraves, Kip Moore and adopt the latest consumption mediums, want to be upping its efforts to court a Brothers Osborne are touring the UK whether it’s CDs or digital downloads or demographic of fans who have thus far more than once a year and we can see now streaming,” says Collin Trudan of TKO been under-indexing in streaming? It’s the growth by territory before, during and Management, which represents artists fertile ground for new listeners – and after those tours. You can see from the including Glen Campbell, Toby Keith and paying subscribers. venue and ticket growth they experience Chris Janson. “It’s a really strong, passionate fanbase, within the same year how it correlates to

report “But when they do eventually come and they’re moving into streaming. If you can the growth in streaming during those time around, it’s huge. These people aren’t going Toby Keith find that type of customer, as a subscription frames as well. to go away, they’re going to come on at service, it’s great,” Amazon Music director the 4

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music ally Ryan Redington tells :) . The different services have slowly realised the power of streams on our service compared to “They know how important it is,” adds industry averages, we’re over 2x,” he says, Collin Trudan. “As core country fans the country fan. They’re so loyal! If they like you, you while confirming Vaughn’s point about continue to come on to these platforms, know they will like you in 50 years’ time,,,” country occupying half of the all-genre it’s only going to benefit them. It truly is slots some weeks on Amazon’s US chart. a win-win […] Country fans aren’t going underway. “Are you aware of how country performs He adds that in the past 90 days, Top to go away: they are going to come on [to “We see it from our data: we sell CDs, on Amazon?” Warner/Chappell Nashville Country was the most popular station on streaming] at some point. And all of the and we can see the migration of customers president Ben Vaughn asks music:)ally, Amazon Music, while the Country Heat streaming services are trying to expedite moving from physical to digital in this when posed that question. This being one playlist that launched in 35 countries this, spending millions of dollars to make it particular genre,” says Redington. of our later interviews, we know enough to earlier this year is the “third most-streamed happen.” “We’re seeing some really solid growth answer that it over-indexes. playlist in our music service”. in particular over the last year or so. We’re “Bigtime. That’s something that the A theme among interviewees was LOYALTY UP FOR GRABS seeing our daily usage grow, our monthly industry has been watching for the last few praise for Amazon’s country curation, and The CMA’s report in October 2017 made usage grow, our playlist followers grow and years,” says Vaughn. respect for its Nashville team – several this point too, explaining that its research our onboarding subscribers are growing,” “If you go on Amazon Music Unlimited people mention its Nashville label-relations suggested that country fans over-index adds Marks. [in the US] and pull up their all-genre chart, manager Kelly Rich, who was hired from in terms of willingness to pay. Of country look at how many country artists and label Big Machine in early 2017. fans that streamed at the time its survey AMAZON IN POLE POSITION songs are on that. It can be nearly half.” “Amazon is really, really strong in the was conducted, 69% were paying for In 2018, then, there is evidence of a wave That’s a big contrast to what you’ll country demo, especially now they have subscriptions, versus 31% who listened for of country fans adopting streaming, and see on the comparable charts for Spotify Kelly Rich in Nashville running the show,” free. ample reason for the streaming services and Apple Music, and it’s a trend that says Lloyd Norman of label, publisher and Hannah Dudley, the Nashville-based to be competing for their loyalty. So who’s Redington expands on. management firm Big Loud. director of marketing strategy at digital doing a good job of that? “If you look at country’s share of the “They’ve been great for some of our agency WMA, agrees that country fans developing artists: Morgan Wallen, Jillian are suddenly an important source of new Jacqueline, Chris Lane […] They’ll do these listeners for the streaming services to Ben Vaughn, Warner/Chappell exclusives that can get special placement court. and more attention.” Historically in country music, the artists can “The different services have slowly have really long careers. You’re talking 20- realised the power of the country fan. or 30-year careers: look at Kenny Chesney “ALEXA – PLAY They’re so loyal! If they like you, you know or Tim McGraw or Blake Shelton. ME GARTH BROOKS” they will like you in 50 years’ time,” she That’s how you win: you develop an art- says. Amazon’s playbook for country – a mixture ist that can have a long career. “They’re all supporting artists, because of playlisting, promotion, exclusive sessions The concept of just doing things to have they’ve realised the power of the country and video content, and plenty of ‘boots a one-hit wonder doesn’t really make sense fan. There are definitely more marketing on the ground’ engagement with Nashville in this world. dollars available from them, whether it’s itself – is one that’s now being followed by And on the publishing side, if we’re billboards or videos or something else on- rivals. But the extra arrow in its quiver may signing an artist/writer and we didn’t think platform.” be its Echo smart speakers. there was an ability to be successful over

report The streaming services can also call on “That’s a new technology Amazon is a number of years, I don’t think we’d sign their internal numbers to understand that using that we really believe, as that scales, them. the migration of the country audience is could have a big impact on us in terms of the 5

ISSUE 417 REPORT 01.09.18 Brittany Schaffer, Spotify It only works if we have a real partnership, sales,” said Randy Goodman in his speech because the streaming services need the original content that is helping tell the last September, referring to Echo and the artist community, and the artist commu- stories of our artists and music and have Alexa voice assistant. nity needs streaming. begun expanding marketing opportunities “So much of our core demographic I think that Nashville and the coun- in the form of out of home/billboards, already sits in the Amazon Prime category try music industry has recognised that experiential moments and playlist rebrands […] you can actually talk to Alexa and say, streaming is the future of music for the that have powerhouse campaigns fuelling ‘Play me a Jimmy Buffett playlist.’” foreseeable future, and that the artists them,” she says. “We’re very encouraged by that […] and labels want to understand how they “The most encouraging thing for us is because that’s just another way I think engage with streaming – how they engage that we are working on new campaigns we’re going to be able to penetrate that with their fans who are already streaming, weekly regardless of release schedule. market and make it even easier, so that and with their fans who aren’t streaming There is real motivation from the partners there’s not as many decisions that need to but are moving in that direction. to make things happen for country in 2018 be made for our core demographic.” and we are beginning to feel the difference Ryan Redington agrees, while noting in the increased weekly streams to hours that Alexa is available on devices beyond there is country star Kane Brown. “Pandora is often overlooked as a spent listening to new subscribers.” the Echo family. “Country has been a priority since day powerhouse platform. However, for country “Getting Echo [devices] into people’s one. We’ve put a focus on it and saw it as music and the US market, they are often SPOTIFY AND APPLE homes, but also Alexa on phones, removing a massive opportunity,” says Redington. the largest streaming platform,” she says. SET UP SHOP the friction and allowing people to get “We’re really happy with the success we’ve “This year we’ve had several songs the music they want to listen to? That had in the genre, and we’re still extremely featured as a ‘pinned track’ at the top of If Amazon and Pandora’s role in the works across all genres of music, but we bullish on the country genre: you will see one of their biggest stations, Backroads, country ecosystem is longstanding, it’s see country as being one of the most- continued investment from us.” and immediately we saw a huge lift. Spotify and Apple Music’s moves in 2018 requested genres with voice,” he says. However, after that one-week promotion that are as key to the current excitement in “‘Play me Garth Brooks.’ That’s a pretty RIVALS UP THEIR EFFORTS each track went on to substantial growth, Nashville around streaming. powerful thing.” For streaming, Nashville isn’t a one-horse often outperforming all other platforms’ Spotify’s poaching of Marks from Echo and Alexa don’t exist in a vacuum, town. Pandora is another well-established weekly streams within a few weeks. Now SiriusXM in 2015 was an early signifier of though. Labels say that Amazon is working streaming player for country, for example. that a portion of their numbers are starting its intentions, but several interviewees hard to make the most of its position with In April 2017, tech site The Verge claimed to count towards the Nielsen streaming mentioned the appointment of Brittany well-crafted promotions. that “56 million of Pandora’s 81 million chart their influence will only grow.” Schaffer as its artist and label relations “The Amazon Weekly One feature has active users subscribe to its Today’s However, Ortmeier also points out that a boss in Nashville this January as another proven to be a fire starter to be reckoned Country station – a whopping 69 percent of commitment to country and the Nashville important marker. with – combining the reach of Amazon its total audience”. community is now something that applies Meanwhile, senior Apple executive Jay Prime with an echo/Alexa device activation According to UMG Nashville’s Ortmeier, across the major streaming services. Liepis relocated to Nashville this year to equals an immediate reaction,” says Annie Pandora continues to be a strong partner “They started by building robust teams head up a new Apple Music office working Ortmeier, VP of marketing, digital accounts for country labels in 2018. in Nashville and now have been creating with local artists, managers, songwriters at Universal Music Group Nashville. and labels. Country’s position in Amazon’s There is real motivation from the partners to make “That’s been the story: you’re seeing streaming priorities can be seen in the those different companies put more people things happen for country in 2018 and we are beginning

report company’s latest A Voice Is All You Need and invest in more employees here in marketing campaign. Alongside Ariana to feel the difference in the increased weekly streams to Nashville,” says Ben Vaughn. Grande, Kendrick Lamar, SZA and Queen hours spent listening to new subscribers...” “All of the major ones are putting people the 6

ISSUE 417 Spotify country followings 01.09.18 REPORT

here in Nashville, and they are engaging in the community. We like that,” agrees Tomlinson. “They all have offices in Nashville now and two-to-five years ago that wasn’t the case. They’re really focused on growing country on the platforms, and they’re all running key activations,” says Trudan. The annual CMA Music Festival in Nashville, held every June, has become a focal point for these efforts. “Something like CMA Fest, which draws tens of thousands of fans to Nashville for a week. Each of the services is running key activations, from taking over bars and having showcases to having giant displays, he says. ACTIVATIONS ON THE RISE Schaffer talks music:)ally through Spotify’s approach to the most recent CMA Fest, which included four days of concerts under the company’s Hot Country playlist brand, with emerging artists and bigger names like The size of the country audience on Spotify the time the data was pulled) and ‘Meant To Our analysis also reveals country’s place Hunter Hayes on the bill. can be seen partly in the 5m followers of the Be’ (514m). in the wider artist rankings at Spotify. Mor- There were also meet & greets with Hot Country playlist, but also in the monthly The data appears to show that these ris and FGL’s collaborations made them the listening figures for the top artists. cross-genre collaborations can effectively 130th and 135th most popular artists on Hunter Hayes music:)ally identified the top 20 country double the monthly listening reach of a Spotify at the time the data was pulled, but artists on 29th August – a snapshot in country artist, given the current ceiling of only three more artists made it in to the time with a metric that can be influenced just below seven million monthly listeners top 400: Sam Hunt (378th), Thomas Rhett by placement on prominent playlists, for other country acts. (386th) and Johnny Cash (400th). admittedly. The 4-7m range shows the current scale Finding new audiences globally through Note the gap between the top two artists, of popular country artists on Spotify, with collaborations can boost that though. Maren Maren Morris and Florida Georgia Line, Johnny Cash and Dolly Parton adding a Morris’ top city for listeners is London, for who both have more than 13m listeners, sprinkling of heritage among the newer example, with Quezon City in the Philippines and the rest. talent. second and Mexico City in fifth place, for That’s directly attributable to their The list is also a reflection of the male example. crossover collaborations with Zedd/Grey dominance of the top tier of country artists What’s unknown, for now, is how many of report and Bebe Rexha respectively: ‘The Middle’ in 2018, with as many solo artists named those listeners will investigate her catalogue (which had 464m lifetime Spotify streams at Luke on the list as there are women – two. beyond her EDM collaboration. the 7

ISSUE 417 REPORT 01.09.18 Margaret Hart, YouTube You’re starting to see a diversity in sound fans, including the ability for some fans to with the younger wave of country artists. Collin Trudan says that these efforts are sit down with artists like Lauren Alaina to Walker Hayes is a great example: he has a appreciated within Nashville. “There’s not make collaborative Spotify playlists. really different sound and look, and we’ve only differentiation in terms of genres, or “We recognised the importance of seen him really thrive in digital. different flavours, but then also different Nashville and the music that was coming The original one of these was Sam playlists targeted towards developing acts,” out of here, and really wanted to lean in Hunt, who really thrived in digital and then he says. to this town and to the music, and start to crossed over to the traditional places. “Feeder playlists would be the right engage in a deeper way,” is how Schaffer Walker Hayes and now Kane Brown is also word. That’s so important: it gives these describes this strategy. doing that. artists a home, a way to get out there and Hot Country, which has just crossed the I think you’ll see a lot more country get some exposure. They’ve come a long milestone of 5m followers on Spotify, was artists who get this foothold in digital, and way.” also the brand for a concert on 4th July in really dive in on digital platforms, and are Lloyd Norman of Big Loud agrees with New York, featuring Carrie Underwood, Dan then able to grow that into something that this sentiment. “We’re all about the feeder + Shay and Filmore. looks more traditional to this market. playlists! That’s become a big thing on Hot Country, along with the New Boots Apple and Spotify,” he says. “Of course, it’s playlist that serves up newer artists to its These playlists are part of an ecosystem on music and to be able to see if they can great to get a song in Hot Country or the following of nearly 550,000 people, are also that also includes Wild Country, Pop-Co continue to grow through these feeder Top Country playlist, but we also want to among the Spotify playlists to now feature (which fuses pop and country), Country playlists – and to aspire to reside inside Hot be able to show people the data that shows embedded video, which has opened up Rocks and Next For Nashville. Country as what you might call a ‘hit radio a song is reacting.” more opportunities to work with artists. “It’s all designed to feed, to grow data artist’,” says Marks. “These feeder lists are great for

Dan + Shay Carrie Underwood report the 8

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establishing that songs are doing well, artists included in the mix too. then we can take that data to move up. Devin Dawson Hart says that more than 200 artists And now on Spotify we’re seeing the New applied to take part, with the week also Boots playlist have video too: that’s more seeing a series of educational sessions opportunities for content from our artists.” to help artists and managers hone their YouTube audience-building strategies. YOUTUBE ALSO IN PLAY “Seeing the growth of those events In Nielsen’s 2017 Year-End Music Report – has been so telling in the overall market the one that pegged country’s on-demand tone,” says Hart, who also praises Warner streaming market share at 5.5%, the stats Nashville artist Devin Dawson and his showed that its share of on-demand video team for a project called Songs In The streams was even lower: just 4%. Key Of F, where he visited locations where That hasn’t stopped YouTube from being he’d written songs and filmed acoustic one of the digital services with boots on the performances and interviews, to be ground in Nashville, and a growing number published on YouTube during his album of marketing activations with artists and campaign. Troy Tomlinson, Sony/ATV labels. “They created that for the entire album, New artists in particular seem to be averse Margaret Hart is YouTube’s manager and then were releasing that content to this idea of pigeonholing them into a of artist and label relations in Nashville, weekly, building the channel and engaging label or genre – and streaming sorta gets who moved to the city a year and a half with his fanbase,” says Hart. “That’s an around that. ago after visiting regularly for three years example of a label and management There’s certainly still a pride that these before that. There’s this bigger desire to learn about company thinking about their YouTube young artists put in being a country artist: “This was definitely a market that what we’re doing that extends beyond the strategy; and that’s what’s happened in this they do feel there’s something special didn’t have a huge DSP presence when digital team.” market.” about the country genre and country mu- I started coming down here,” Hart tells “And that’s what’s really exciting to sic. They’re proud of what they do and the music: ally, while noting how much things me; because once there is a general ) VIDEO TELLS people they play for. have changed since then. understanding across departments of what A THOUSAND STORIES But while these new artists will cer- “One of the most amazing things about we’re doing, our goals and the ways that tainly consider themselves as country art- this market is that everyone is willing to we can work together, that’s when we really This is another important point to ists and will be proud of that, they are also come to the table, sit down and learn about see a lot of acceleration around proactive understand about country music in 2018: expanding their fanbases beyond what the opportunities,” she says. approaches to projects.” its artists and labels really are leaning we would think of as the typical country “When I sit down with label partners, Those projects include creating a ‘pop- in to digital content, social media and listeners. a lot of time those meetings are going up’ YouTube Space in Nashville earlier this the partnership opportunities with the beyond just the digital team and the team month to film sessions with a mixture of streaming services. Video in particular is that’s touching YouTube day-to-day. It’s label-signed and independent artists – enthusing a community that has always Trudan. the product managers, the A&R leads. mainly country, but with Christian and rock prided itself on being built on storytelling. “I can’t think of any superfan that “If a picture can tell a thousand words, wouldn’t want to have a video of them One of the most amazing things about this market is that well, how many words can a video tell? asking a question to their favourite artist,”

report Video’s so important: it’s the favoured he says. “These are great tools to be able everyone is willing to come to the table, sit down and medium on Facebook and Instagram – and to close that gap between the artist and learn about the opportunities...” we do a lot of live video as well,” says Collin their fans.” the 9

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Lloyd Norman of Big Loud says that engaging with an artist’s fans off the his company is similarly energised by the Florida Georgia Line platform through our Fans First events, or opportunities to create content for and through unique social-media marketing with the streaming services. engagements.” Florida Georgia Line, one of Big Loud’s Marks adds that Spotify sees the management clients, filmed a vertical eagerness in Nashville to work with the music video for a takeover of Spotify’s Hot DSP’s new video formats in particular. “It’s Country playlist, as well as a nine-minute been gratifying to see the music industry documentary visiting the band in their in Nashville, and artists in particular, really homes and studio. embrace this idea, without even a thought Norman also talks about another Big about, ‘Hey, is this going to be good?’ or Loud artist, Morgan Wallen, whose Florida ‘Who else is doing it?’,” he says. Georgia Line collaboration ‘Up Down’ was “They too understand that it’s about the first vertical video to be featured on creating that bond between Spotify, the Spotify’s Hot Country playlist. listener and their fans.” “We didn’t have a vertical video at the Marks and others talk about one of time, but we had a meeting with Spotify the prime elements traditionally in the and showed them the regular video. They relationship between country artists and said, ‘Wow, this is really cool; we’re looking their fans being one of authenticity and at doing a vertical video on Hot Country.’ intimacy: most often focused in the past So my team and I stayed at the office all around playing live. night, re-editing the video to work in a “In a vertical format, your phone just vertical format,” he says. held top to bottom, it’s more like you’re “The next morning we sent it to them Lloyd Norman, Big Loud FaceTiming them, rather than these asking, ‘Would this work?’ And that’s how Country is probably one of the most un- big horizontal videos going with all the it became the first one. That’s the kind tapped markets in streaming, just because flashlights like in a stadium. And those of opportunity we’re trying to hop on, the audience is a little slower to adopt new are fine too, but this is about, ‘Hey, here’s and similarly with Amazon: we made an channels of distribution. That’s exciting: it the artist, here’s what they look like, the exclusive video for Jillian Jacqueline with means there’s a lot of growth happening on things they love to do, the things they sing.’ them that became a really strong piece streaming platforms in the country demo. It simplifies things, but it cultivates that for her.” That also means we’re getting a lot of relationship between fans and artists.” attention from DSPs. They see the opportu- All this is also contributing to the CREATIVE PARTNERSHIPS nity to grow their services. In the same way sense of a community that is looking This is exactly how Spotify would like the that a couple of years ago hip-hop stream- outwards, drawing on external influences relationship to work. “We have really tried ing just blew up and the RapCaviar playlist for its digital strategy. to encourage the labels and the industry to got really big. “We never want to be just ‘good enough see us as a creative partner as much as a We’re now seeing the same kind of for Nashville’,” is how Lloyd Norman puts distribution partner,” says Brittany Schaffer. attention go to things like Hot Country on it. “All of our videos, all of our photos, all of

report “We’re a platform where artists can Spotify. It’s becoming more of a focus for all our socials content has to be as good as really help to tell their stories, whether the services. anybody anywhere.” that’s through video content, or through “We need to look at what people in LA the 10

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and New York are doing, and we’re not Country artists without a label comparing ourselves just with country artists: we’re looking at what every artist’s doing, whether it’s Bieber, Post Malone. That’s healthy: it’s making sure we don’t stay too insular with any of our ideas.” RADIO’S ROLE CHALLENGED Another regularly cited reason for the slow adoption of streaming by country fans is the continuing importance of radio, with thousands of country-focused stations in the US and an industry mindset where (radio) playlist-adds and airplay charts still loom large. For fans, too: Troy Tomlinson suggests that the reason streaming hasn’t appealed to many fans has been that they’re happy with a method of music consumption that involves “jumping in my truck and driving for 45 minutes to work while listening to radio”. “Think about radio: new music is pushed to the fan, sitting in their truck with the radio turned on. But on streaming, going to a playlist of new music can be overwhelming,” he says. Labels are key to the recorded-music ecosystem around country: not thinking about that label piece first,” says Hart. “There might be 15 names that the least because of the historic emphasis on radio, which requires the kind Austin Burke, who releases his music through AWAL, has picked up consumer has never seen before: brand of resources and relationships that were beyond independent artists. 43m streams of his ‘Whole Lot In Love’ track this year, meanwhile. “He new artists. That’s not how we like to be Is streaming helping to change that? Marks notes that Spotify’s next has out-streamed several of the number one country radio tracks year- introduced to new music!” Hot Country cover artist is Filmore, who is “totally unsigned in terms to-date,” says Ron Cerrito. “With no airplay.” Spotify’s John Marks puts it differently. of publishing and recordings, although he has a good [live bookings] WMA’s Hannah Dudley says that these remain the exceptions to the “You have a large supply of people who are, agency and good management”. rule, because of those radio relationships that the labels have. let’s just say used to their current choices, YouTube’s Margaret Hart cites Maggie Rose as another example: “If you’re number one at country radio, which has an audience of tens or needing some motivation in order to she’s backed by a well-regarded management company, Starstruck of millions, that’s huge! And you can’t do that without the labels still, consider changes to what their current Entertainment, but does not work through a label. The studio sessions really,” she says. choices are,” he says. for her new album have been filmed, with the footage to be used for “What’s exciting is if you’re signing an artist that doesn’t think that’s In any case, radio remains a powerhouse YouTube content. the name of the game, they want to build a fanbase, a touring base […] “She’s an example of a class of artists here that are thinking a long-term career. Those are the ones that are starting to go more the report both for music discovery and for how it is judged within the industry: a number one about a digital-first or content-first strategy, and not necessarily independent route.” at country radio still trumps topping the the 11

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streaming charts as a status symbol. But “We recently shot two videos at once: fanbase on Spotify […] Radio can look to Hannah Dudley, WMA the latter is growing in prominence. one for the radio single and one for another streaming as a way to see what’s working.” The interplay between streaming and song that’s having strong data on the John Marks agrees. “When your ratings country radio has two interesting aspects DSPs. It gives the DSPs another piece of tool punishes new music, generally in 2018, though. First: how labels and content to talk about, and the fans another speaking, you want to be as right as you management are balancing the diverging song to focus on.” can when first choosing a new song to life-cycles of tracks at radio and streaming. Nobody in Nashville is talking about add to your [radio] playlist. Spotify can be Second: whether emerging country streaming killing country radio. But they helpful in that regard,” he says. artists are increasingly able to break first are talking about streaming as a potentially It’s this dynamic that is now influencing through streaming, and then take their valuable springboard to radio, as tracks label strategies in Nashville: tracks breaking tracks to radio – in other words, whether prove themselves with the streaming on streaming then travelling to radio for the streaming is breaking radio’s stranglehold audience – complete with analytics longer push towards chart success. on turning new country talents into breaking that down by location. One current example is artist Luke superstars. “DSPs are kinda helping us learn which Combs, whose track ‘Hurricane’ had more tracks may be strongest to then take to than 166m streams at the time of writing, BALANCING THE CYCLES radio. We can play Moneyball and look at having found its initial audience on Spotify It can take 40 weeks or more to get to the streaming analytics to see what works and other streaming services. number one on the country radio airplay best and learn what people like. And then “He’s certainly a large Spotify artist. But chart: a process that has traditionally we can use that data to present a case to he’s also on his way to his third number one involved pitching (and visiting) individual radio,” says Lloyd Norman. at FM radio, and FM radio – through the stations to convince them to add a track to “If Morgan Wallen is getting streamed label that signed him – has adopted him as their playlist. a lot in this one market or town, we can well,” says Marks. The contrast with streaming, where a talk to the radio station there and let them Russell Dickerson is another current track can be released and picked up on a know what’s going on.” example: his tracks ‘Yours’ and ‘Blue prominent playlist within days, is obvious – Tacoma’ made waves on streaming and the challenge for labels and managers DATA INFORMING platforms before making their way is how to balance these two cycles. RADIO PLAYLISTS to traditional radio. “These things are People talk about how Nashville has “By the time you’re on the third single beginning to happen a lot quicker,” changed, but it’s still changing even in at radio, the album might be a year and Brittany Schaffer suggests that this says Marks. the last 12 months. I hear constantly a half old,” says Hannah Dudley. “The relationship between streaming and “It’s not the explosions you hear about about people moving here from New two timelines don’t really work together, country radio is positive. in other genres with artists like Chance York and LA, and even London. so that’s something that has to change. “I think that the exciting thing about The Rapper, but it will be happening a little For a number of big managers now, People still want to listen to radio and streaming is that it’s complementary to more explosively as our numbers grow to Nashville is on their roadmap to have people also want to stream, so it has to be radio: I think that radio and streaming can approach where the Top 40 and the hip- an office there soon. lined up somehow.” live side-by-side,” she says. hop numbers are right now in Spotify. I see If you want to be embraced by the Lloyd Norman of Big Loud agrees. “The “We have an ecosystem where artists it happening.” Nashville community, you do have to radio life of a single might be so long for have the ability to develop a fanbase be here. You have to pay your dues! a developing artist that we need to have without having to rely upon radio, but also STREAMS FUELLING SPINS Come and meet people and build up report content and other songs ready to feed to where radio can essentially minimise its risk UMG Nashville’s Annie Ortmeier says that those relationships. these playlists on Spotify and Apple Music by being able to look at songs and artists her label has seen this in action, from and Amazon,” he says. and how they’re reacting, and building a artist Sam Hunt four years ago to current the 12

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example Jordan Davis, whose debut track starting to see diversity in sound because ‘Singles You Up’ was released in May 2017. Collin Trudan, of it.” She outlines its history. TKO Management She cites artist Walker Hayes as more “We went to all digital partners and radio Streaming has played a huge part in the evidence to support this theory. He’s a in late May 2017 and shortly thereafter in globalisation of the genre. A great example great example of someone who has a really mid-June we started hitting the Spotify US, is the C2C festival every March in London. different sound, a really different look. Canada and global viral charts. We stayed You have these developing or We’ve seen him thrive in digital. And the on those charts for the better part of two established acts go over there, they get on original one of these was Sam Hunt, who months racking up weekly stream counts stage, and all these fans are singing the really thrived in digital and then crossed that were rivalling established artists and words to every song! And that’s before over to the traditional places,” says Hart. radio charting songs,” says Ortmeier. those songs are on the radio. “We’re seeing a lot more artists who get “When the single peaked at radio in April The only thing that points to is this foothold in digital and really dive in 2018, we were putting up more than 4m streaming as the main discovery driver. on digital platforms, and are then able to streams weekly and had amassed 71m total grow that into something that looks more streams. Now that song has over 220m traditional to this market.” global streams and has been named as the I believe that the use of be"er analytics to understand most played song on country radio for 2018 COLLABORATION audience behaviour can lead country radio to develop (through July).” BREAKTHROUGHS Not everyone is getting carried away by more and bigger artists, which would help drive the en- a trend of streams before spins: Warner/ tire country music industry forward...” Diversity of sound is a hot topic around Chappell’s Ben Vaughn, for one, suggests that a hit artist driven purely by streams Jordan Davis DIVERSITY OF SOUND “hasn’t happened yet”, although he notes This idea of a wider artistic that the stream totals for tracks that have palate for hit country artists yet to break at radio are increasing. is something that YouTube’s Some interviewees hope that streaming Margaret Hart also picks up on, can have an impact on the kind of tracks when talking about the artists and artists that get championed by country that are doing well on her radio stations: they don’t see the power of company’s platform. radio to create stars waning yet, but they “I do think that the younger do hope that power will be put behind a country artists: the Kane more diverse range of new artists. Browns, the Luke Combs of “There is a big opportunity in the the world, are seeing a ton of country music industry. I believe that audience and a ton of traction the use of better analytics to understand on our platform,” she says. audience behaviour can lead country “And we’re seeing in this next radio to develop more and bigger artists, wave of country artists that which would help drive the entire country their fans are really on YouTube,

report music industry forward,” says Ron Cerrito, engaging on YouTube, and president of AWAL North America. the artists are engaging with Kane Brown that audience. And now you’re the 13

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These cross-genre collaborations feel New artists in particular seem to be averse to this idea of Sam Hunt like part of the culture of streaming itself – from Latin American and Western artists pigeonholing them into a genre label, and streaming sorta teaming up to the now-familiar “EDM gets around that. It’s almost a genre in itself...” producer + pop singer + rapper” lineup. Country plus EDM or pop or hip-hop Bebe Rexha song and like it, if you’re not “New artists in particular seem to be collaborations play just as neatly into the familiar with Florida Georgia Line, you’re averse to this idea of pigeonholing them streaming environment, from non-genre going to go and stream some FGL and see into a genre label, and streaming sorta gets playlists to algorithms that put tracks in if you like ‘em. Or if you know them but around that. It’s almost a genre in itself.” front of new listeners. don’t know her, you might stream her and “There’s certainly still a pride that the “If you’re a music lover and you hear the check her out,” says Sony/ATV’s Tomlinson. young artists put in being a country artist: they feel there’s something special about the genre and its fans. A good healthy pride in what they do and the people they play for. But they are also all about expanding their fanbase beyond what we would typically think of as the typical country fan.”

ORGANIC NOT FORCED WMA’s Hannah Dudley says that these kinds of collaborations feel natural to emerging artists in particular. “The country music in 2018 – and here streaming streaming industry is what’s driving this. is also playing a significant role. The two The younger country artists coming in biggest hits this year involving country now, they don’t grow up only listening to stars are collaborations with artists outside country radio. They grow up listening to the genre. Apple Music, Spotify or Pandora. Their ears Florida Georgia Line and Bebe Rexha’s don’t have genre barriers!” she says. ‘Meant To Be’ has more than 500m streams “That starts feeding through in their on each of Spotify and YouTube alone, and From viral to Nashville “He’s a real country artist, man! He’s writing, which is why the country music was the second biggest radio song (across There’s one emerging country artist you’ll been performing since he was four, and sound itself, and the definition of ‘what is all US stations, not just country radio) almost certainly have heard. he can sing as well as any artist I’ve ever country’ is changing.” in the first half of this year according to Mason Ramsey is the 11-year-old worked with!” says Lloyd Norman. “There are so many developing artists Nielsen. who was filmed yodelling in a Walmart “We’re going to continue building his I’m working with who absolutely identify Zedd, Maren Morris and Grey’s ‘The supermarket earlier this year, went viral, story and show people that he really is with country – they grew up in a rural Middle’ – Morris being the country was interviewed on primetime TV shows an authentic country artist. He blew up community or small town somewhere in component in the collaboration – has and performed at Coachella 2018. through the internet, but that’s not his the south, they love Randy Travis, but

report more than 460m Spotify streams and He’s now signed to Big Loud’s label thing. We have a lot of faith in him as a real they also love Drake and they love The xx,” 150m YouTube views, while placing fifth in division. career artist.” she adds. Nielsen’s first-half radio airplay chart. Dudley thinks that Sam Hunt did a the 14

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lot to change perceptions in and around The big country playlists on services are all available Nashville: that it’s “OK to be influenced by Ben Bowdler, Proper Records these other genres, like R&B and hip-hop, outside the US, and that’s played a huge part in the and to integrate them into your music – as globalisation of the genre...” long as your music’s good”. “The country sound is changing, I think, take new and established artists alike to this pot pourri of music lovers, and that’s quite organically, because the people new audiences beyond the US. why a song can easily transcend genres.” themselves are changing organically. The effects are making themselves felt I really think that’s all traceable back in another area intrinsic to the country STREAMS (AND DATA) to streaming.” community: live concerts. SPARK TOURS Lloyd Norman, who has had a ringside “If you go to the C2C festival in London, seat for the explosion of ‘Meant To Be’ due you have these developing acts go over The analytics offered by Spotify, YouTube to Big Loud being Florida Georgia Line’s there, or even more established acts, and and Apple are playing a part here: showing management firm, agrees. they get on stage and all these fans are artists, labels and managers where their “Five years ago, people would go to singing the words to every song,” says music is being streamed, and increasingly YouTube and get on a YouTube rabbit hole Trudan. influencing their decisions over whether of videos. I feel that can happen now on “That’s before it’s on the radio. The only to visit those overseas markets for one-off DSPs with music in terms of hearing a song I think it’ll be interesting to see if the thing that points to is streaming as the festivals or even full tours. and then what it recommends, taking down streaming services start supporting main discovery driver.” “The UK, Australia and Canada are really the genre walls rather than locking you into more UK and European-based country It’s fair to say that the people who go to big markets for country music, and that’s a certain genre,” he says. artists in the future. Currently most of festivals like C2C still consider themselves shown through data, which then informs AWAL’s Ron Cerrito also sees this as the big Spotify and Apple Music curated to be “country fans”, but there’s also a where they tour,” says YouTube’s Margaret evolution on the part of fans. “Listener playlists are dominated by US artists, growth in listening to country by people Hart. behaviour is changing. In a world where which is understandable given where who wouldn’t class themselves as such. This is also sparking some of the co- audiences listen by mood and do not this genre of music originated, but That’s partly a function of the growth of marketing projects with DSPs. Kacey recognise genre any more, we can grow the could they be doing more to support mood and activity-based playlists, where a Musgraves filmed some performances audience for country music by engaging non-American country artists? Is there country song can find its way into playlists in the YouTube Space in Tokyo, ahead of fans of all types,” he says. the space and the demand for more curated for driving, cooking, love songs, the release of her album in Japan and an “The idea that there is a separate UK/EU-centric country playlists? chilling out and other areas. appearance at the Fuji Rock festival in July. country audience that can only be served “We in the business are far more “That was part of an overarching plan by a country radio station, is not in tune willingness to collaborate outside their core concerned about giving names to with Kacey to break into that market, and or in line with how technology has forced genre, so the ability of their music to travel categories, like country music or pop music to help her create content that was special the evolution of fan behaviour and beyond the US increases. or rock music, than the fans are. And that’s to that market,” says Hart. “We’re definitely listening habits.” “The big country playlists on services because they have more access than ever seeing more requests like that come are all available outside the US, and that’s to virtually every piece of recorded music in through, and we’re thinking about how we BEYOND NASHVILLE… played a huge part in the globalisation of history,” says Troy Tomlinson. can support artists to go beyond just the AND THE US the genre,” says Collin Trudan. “We tend to segregate or set up US market.” Amazon’s Ryan Redington says it was a boundaries that fans don’t. People are (Musgraves also worked with Spotify on

report As country’s sound continues to evolve, deliberate strategy on his company’s part listening to country, but at the same time a Fans First event in London this March, and as its young stars come through to launch its Country Heat playlist in more they’re listening to southern rock, pop, complete with afternoon tea for around 30 with their own palette of influences and than 35 countries: it saw the potential to urban, Christian, gospel music. The fans are of her keenest fans from the city.) the 15

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Several interviewees make the same those markets within the next few years point: live is such an important part of Ron Cerrito, AWAL due to the streaming growth happening in a country artist’s business and mindset With 43m streams on ‘Whole Lot In Love’ those territories.” alike, so the sight of more of them playing our artist Austin Burke has out-streamed music:)ally also came away from our overseas is a significant development. several of the number one country radio interviews with country labels, managers “I absolutely think streaming is a huge tracks year to date, with no airplay. and key DSPs with a sense that things have part of that,” says Warner/Chappell’s Ben I believe this represents a large avail- improved since the CMA’s October 2017 Vaughn. “The artists are starting to route able audience who are not discovering report on the genre being under-served by tours through Europe, and touring is country music the traditional way. This is a streaming. everything in this industry; so the fact that positive for everyone, as we can now go to We also keep coming back to the notion they are doing that is your big clue that radio with songs and artists that we know of country as an important source of new things are actually working, and they’re people are already embracing, rather than subscriber growth for the major streaming seeing the potential for future growth.” asking for six months of airplay for proof of services, and how that could drive not just concept. engaging video features in playlists and AVOIDING THE ‘C’ WORD inventive marketing activations, but other WMA’s Hannah Dudley offers a different kinds of change too. perspective. She agrees that there are importance of touring to country artists doing so well here, why do I need it?’” adds The publishing and songwriting front, for opportunities for country artists to play can be a barrier when looking overseas: Dudley. example, with Spotify and other services overseas: including festivals like Country To many have a year-round schedule of live “Younger, newer artists are all hungry still under scrutiny for the way they handle Country (C2C) in London and CMC Rocks in dates in the US, which leaves less room for though, and they want to tour internationally. licensing for works, amid the bigger, Australia. targeting new markets. Things like C2C and CMC Rocks have helped long-simmering debate about whether Having grown up loving traditional “There’s no easy break in a country to change that for them.” publishers (and thus songwriters) country music – “even though there were artist’s schedule to go to Europe for a should be getting a bigger cut of Kelsea Ballerini no dirt roads where I grew up in Croydon!” month,” she says. “They have these loyal OPTIMISM FOR streaming royalties. – Dudley also sees a difference in some fans across the US. Chicago is such an THE FUTURE “We continue to be living of the recent wave of country artists: the important country market, for example, and through the pain of the writers likes of Kelsea Ballerini and Maren Morris so as an artist you don’t want to neglect Even with these challenges, not being compensated at a don’t sound out of place on mainstream any of those states or radio stations. The the prevailing mood is one fair equitable rate compared to radio playlists in Europe, for example. And reach you’re going to get with them is huge of optimism: that country other parties involved with the listeners respond. – but that can make it harder to schedule in can capitalise on the bigger music. We’re still dealing with “If they listen to a newer country act, visits to Europe.” streaming trends – global that,” says Troy Tomlinson. they’re not seeing the ‘C’ word blasted “More established artists might shrug expansion included. Listen “Certainly things are better everywhere, and the lyrics aren’t the same their shoulders and say, ‘I can’t play such to UMG Nashville’s Annie today than they were as old-school country,” she says. big arenas over there, it costs so much, Ortmeier, for example. a year ago, but the Dudley also suggests that the I can’t take all my stage gear over. I’m “What I’m most writers are being interested in now under-compensated, is Mexico, Central particularly as it If they listen to a newer country act, they’re not seeing and South America – relates to streaming.” the ‘C’ word blasted everywhere, and the lyrics aren’t report especially Brazil,” she With DSPs keen the same as old-school country...” says. “Without a doubt, to capitalise on the our artists will be in migration of country the 16

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What I’m most interested in now is Mexico, Central and South America – especially Brazil. Without a doubt, our artists will be in those markets with- in the next few years due to the streaming growth happening in those territories...”

consumers to streaming, Nashville could be a powerful voice in the ongoing debate around how these platforms’ royalties are apportioned, within a market (the US) that is likely to influence approaches around the world.

NOT AN ISLAND ANY MORE

One final conclusion: country really isn’t so different from other genres in many of the ways it’s interacting with streaming in 2018. The inventive digital marketing campaigns; Streaming and country diversity in this particular debate? Spotify’s Brittany without a doubt,” he says. “All I can say is the activations with streaming services; the “You look at the charts and you see a big Schaffer says it’s something that company that it’s more of a consumer matter than emergence of young artists who build their lack in female voices,” said country artist thinks carefully about. a programming matter. It’s about finding fanbase on DSPs and social networks as Kacey Musgraves this month, while being “There are some incredible female artists songs that people like.” well as live; cross-genre collaborations and interviewed by Reese Witherspoon for the that are coming up right now, and we have “I continue to find and look for women in new sounds; the intelligent use of data by latter’s Shine On with Reese show. to do what we can to help change the tide of particular, but anyone of any talent – male, managers and labels… “If you look at the Top 40 you might see there not being many females in country,” female, alien, green as far as I’m concerned! It’s not so different, but that in itself is three women. One thing I’ve experienced as she says, while stressing that this must be – from whatever country they happen to sizeable news: country is not an island in a woman on this path […] is I can be meeting done in a way that is “reflective of what us- come from? We’re looking high and low for the streams of the modern music industry. the same radio station people or people in ers want to hear, and of what makes sense just cool artists who are going to resonate And as the statistics are beginning to show, the industry as a male artist but there’s an within the culture”. with fans,” adds Marks. that is paying off in the genre’s market extra pressure on me to be accommodating Her colleague John Marks agrees. “We’re “I do take a little bit more conscious effort

report share and prominence on the streaming or nice.” all conscious of trying to find ways to in- about finding some placement for female services – and in its artists reaching new Can streaming services play their part crease the female voices in country music, artists to see if they can find legroom.” listeners at home and abroad. :) the 17 Music Ally is a music business information and strategy company. We focus on the change taking place in the Music Ally is an ISSUE 417 industry and provide information and insight into every aspect of the business, consumer research analysing 01.09.18 example of perceptive the changing behaviour and trends in the industry, consultancy services to companies ranging from blue journalism at its chip retailers and telecoms companies to start-ups; and training around methods to digitally market your best, with unrivalled artists and maximise the effectiveness of digital campaigns. We also work with a number of high profile music Andrew Fisher, events around the world, from Bogota to Berlin and Brighton, bringing the industry together to have a good CEO, Shazam coverage of the commonsense debate and get some consensus on how to move forward. Entertainment digital music sector”

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