Since the business of Christmas music is growing so fast – it occupies five of the top 10 places on the Billboard Hot 100 this week – we are re-presenting some of our stories from Christmas past. This piece, about how Leonard Cohen’s “Hallelujah” came to be considered a holiday song, originally ran in 2019. The story of the song is recounted in the recent documentary Hallelujah: Leonard Cohen, a Journey, a Song. Leonard Cohen’s “Hallelujah,” with its ambiguous, imagistic lyrics about sex and spirituality, was once described by Jeff Buckley, perhaps the song’s most famous interpreter, as “the hallelujah of the orgasm.” So how did an a cappella version by Pentatonix get to No. 21 on the Billboard Holiday 100 in 2018 — after peaking on that chart at No. 2 in 2016...
Since the business of Christmas music is growing so fast – it occupies five of the top 10 places on the Billboard Hot 100 this week – we are re-presenting some of our stories from Christmas past. This piece, about how two former Billboard staffers produced the holiday hit “Christmas Rappin’” for then-up-and-coming rapper Kurtis Blow, originally ran in 2019. Since then, in 2020, Robert Ford passed away. One groundbreaking Christmas hit didn’t just make the Billboard charts — it was produced by two former employees. In 1979, J.B. Moore and Robert Ford left the magazine to produce “Christmas Rappin’ ” for an up-and-coming rapper named Kurtis Blow. Released on Mercury Records, the single went gold, and Blow became the first rapper to sign a major-label deal. At Billboard, Moore ...
Streaming has made catalog music more important than ever – it jumped from about 65% of the market in 2020 to about 70% last year. But the catalog that’s growing isn’t necessarily what you’d expect. Icons like The Beatles are thriving, but the category is now dominated by Drake, Taylor Swift and other modern acts. Billboard explains where the growth is – and how it could continue. Plus: Why Drake streams as much as all music before 1980 combined, how TikTok turns yesterday’s tracks into today’s hits, how classic rock acts are holding up and why the only thing that hasn’t changed is the industry’s ability to hype up trends. Related Related Deep Dive: A Musician’s Guide to Web3 04/15/2022 Read the full Deep Dive here. More Swift Than Dylan: How Newer Hits Overtook Classic Rock to Rule ...
The music industry hasn’t always welcomed new technology, but the booming NFT marketplace — overall sales generated $25 billion last year — shows the promise of Web3, and everyone wants a piece of the action. Deep Dive explains how artists and executives can get in on it wisely and examines blockchain’s potential to reshape the industry. Plus: lessons in NFT drops from dance music’s pioneers, legal pitfalls to avoid when you’re minting the goods, all the crypto lingo you need to know and a guide to the top startups supporting musicians in the metaverse. Read the full Deep Dive here. Learn To Speak Web3: Translating Crypto’s Buzzwords For The Music Business A primer for artists and executives considering doing business in the metaverse. Read more. Shira Inbar Doing Music Deals In The M...
When it comes to music publishing catalogs, which genres command the biggest dollars? Are all royalties created equal? And should you keep an eye on your matching rights? Buying and selling music publishing catalogs is filled with costly pitfalls. The complexity of publishing contracts, copyright law and royalty streams create pitfalls that can add unforeseen costs and hamstring the buyer or seller with unwanted terms. Billboard spoke with leading attorneys and experts to identify trouble spots and provide solutions. How should a catalog seller prepare? Deals can become “lopsided” when a seller cannot match the buyer’s institutional knowledge and ability to value a catalog, says Scott Bradford of DLA Piper: “They don’t look into the value and instead go with what the buyer is offering.” Ch...
Stopping the e-commerce sales of knockoff T-shirts and other memorabilia on Amazon, eBay and other major platforms is a game of whack-a-mole, but CounterFind, which was co-founded by former Dallas Cowboys safety Darren Woodson, has become an effective hammer for the music industry When a suicide bomber killed 22 people and injured hundreds following an Ariana Grande concert at the Manchester Arena in England in May 2017, the singer and her agent wasted no time in setting up a June 4 One Love Manchester benefit concert — with a lineup that included Katy Perry, Justin Bieber, Coldplay and Miley Cyrus — to aid the victims and their families. And counterfeiters wasted no time in knocking off the merch that was sold as part of the fundraiser. Bootlegged T-shirts, hats, stickers and other produc...
Everyone wants to work with the site that is growing artists into brands — and informing how the merch industry can grow, too What do fans of Beyoncé, the Foo Fighters, Lauv and Mac DeMarco secretly have in common? Though they’d never know it, they all order their merchandise through the same Canadian e-commerce company, Shopify. The 14-year-old Ontario-based business has grown into a global giant over the last six years since it launched Shopify Plus, the enterprise version of its software. Smooth setup — and robust data — make it a favorite of not just the music industry, but retailers like Staples, Heinz, Allbirds and more. It’s a Wall Street favorite as well. In 2019, Shopify hit $1.6 billion in total revenue, a 47% year-over-year increase, and during the pandemic, its stock price has ...
From puzzles to sweatpants to a unisex fragrance, artists are maximizing online merch sales for fans shut in by the pandemic Perusing the more than 275 artist storefronts at online retailer Hello Merch is like visiting a music merchandise wonderland: Diet Cig is selling branded playing cards, Tori Amos has turned T-shirts into handmade face masks, and Low Cut Connie is offering an all-natural fragrance, among other unusual finds. The choices haven’t always been as wide-ranging. Prior to the pandemic, merch was “second, third or fourth on artists’ minds,” says Mike Lentz, who handles artist relations for Hello Merch. But now, “they’re worried about getting through their tour, playing shows every night [and are] too busy to have the time to deal with it.” A T-shirt will never replace a conce...
How a sneakerhead site created a secondary market for some of music’s biggest stars — and how they can deal themselves in When The Weeknd’s fourth album, After Hours, debuted at No. 1 on the Billboard 200 in March, merchandise was at the heart of the biggest first sales week of 2020 to date. Over half of the total 444,000 album equivalent units — 275,000 — were album sales, according to Nielsen Music/MRC Data, spurred on by merch and ticket bundles, with The Weeknd packaging After Hours with more than 80 items. Fans could buy the album alongside everything from hoodies, T-shirts and face masks to flasks, playing cards and ash trays, most available for just 24 hours. But for those who failed to act before that 24-hour window slammed shut, within a day many of the items were available for sa...
Practical advice from the players behind virtual concerts by Kane Brown, Dropkick Murphys, H.E.R. and Lissie. The first time singer-songwriter Lissie tried a livestream, in late March, she was at her then-boyfriend’s house in northern Virginia, and she had just managed to thank those in attendance — two dogs in the kitchen — before the camera fell to the floor. “This is so professional!” she declared. But over the months, both her equipment and her savvy became increasingly sophisticated, with the response to her ticketed streams strong enough to cover personal costs and make a charitable donation each time. (She also broadcast her rehearsals for fans who couldn’t afford a ticket.) On Aug. 2, she performed with a band and a dozen sound and lighting crew members at an empty Parkway The...
The New Livestreaming Landscape Here’s how the leading livestream platforms stack up on revenue split, merch integration and more key variables for artists. When the coronavirus shut down the live industry, artists had no choice but to cancel or postpone their tours. Now they face an overwhelming range of choices as dozens of livestream platforms compete to be the next big virtual stage. Many of these livestream companies launched amid the pandemic, while new services are debuting on an almost weekly basis. They have much in common and are sometimes difficult to tell apart, but employ a variety of business models — including pay-per-view ticketing, sponsorship and virtual tipping. To help artists make an educated decision about which platform to use to reach their fans — or collect new one...
Sessions founder Tim Westergren estimates the market for virtual concerts is worth $1 billion with the potential to grow to “tens of billions” in just a few years, but can that rate of expansion continue when actual live shows resume? At a 2007 Los Angeles music industry function, Ray Smith was pitching his new company, BE-AT.TV, to a high-ranking Live Nation executive. The business was focused on livestreaming electronic music festivals like Tomorrowland and Ultra Music Festival, and Smith says the executive’s reaction was not as he had hoped: “He was like, ‘Who the hell is going to sit at home and watch a bunch of kids partying on a laptop?'” Thirteen years and a global pandemic later, millions of music fans worldwide are doing just that, and Smith’s newly rebranded BeA...