Cadence OTC的动态

With the sun shining there's one thing on my mind- FESTIVAL SEASON. But with ticket costs at record high, and 36 festivals cancelling/postponing in 2024 so far, with ~100 predicted, the crisis has been cited as worse than Covid (John Roston, AIF CEO). To quell the doom and gloom I wanted to highlight a few campaigns aiming to buck these alarming trends, interested to hear of any others too! Drop the Headliner is one such campaign that's gained some traction, with SGP adopting the scheme this week . When one headliner can easily cost ￡100,000+, dropping just one big act can either save money or allow for better allocation of funds to improve experience. UK Music, a collective industry voice, are urging the UK government to cut VAT on tickets from 20% to 10% to bring them in line with the average EU rate. Whereas the Association of Independent Festivals is calling for this to drop to 5% for 3 years to offer a relief buffer. https://lnkd.in/eTDPCX-y. https://lnkd.in/eXWXJVXW https://lnkd.in/e3sUtqsj

Championing Equity in Music: A Spotlight on Willie "PROPHET” Stiggers, CEO of Black Music Action Coalition As the music industry continues to evolve, leaders who advocate for equity and inclusivity are more important than ever. Prophet Stiggers, the visionary CEO of the Black Music Action Coalition (BMAC), is at the forefront of this vital movement. In a recent interview with Rolling Out, Prophet shares his insights on the challenges and opportunities in the music industry, and how BMAC is spearheading initiatives to ensure that all voices are heard and valued. His dedication to creating a more just and equitable industry is truly inspiring. From advocating for artists' rights to pushing for systemic changes, Prophet's leadership is paving the way for a brighter, more inclusive future in music. As he aptly puts it, "We must continue to push forward and demand equity for all." Read the full interview to learn more about Prophet Stiggers’ impactful journey and BMAC’s mission: https://lnkd.in/eeECiEpY #MusicIndustry #EquityInMusic #Leadership #BMAC #Inclusion #Diversity #ProphetStiggers #BlackMusicActionCoalition #RollingOut #BusinessExchange

3 Ways Conferences Could Embrace Racial Equity! The ethnicity income gap has more ramifications than one might realise. It directly impacts those who want to create and grow a business, but who struggle with being visible. 'Knowing that organisations are willing to bring about more equity in their conferences can be the difference between someone developing resources that will inspire and educate young people, or risk leaving it to organizations, who may not have a diverse workforce, to potentially never create it.' This post talks specifically about music education conferences, but can be applied to any other conference or trade fair. https://lnkd.in/emhxWvRs #equity #dei #conference #incomegap

More people need to know RMR (Respect My Region). IMO: they are the top source of cannabis news. The stories they write focus on PEOPLE and the future of cannabis. With a huge spotlight on the Legacy of the industry. Past / Future / Human focused. What else do you even need? Go Follow RMR. They're good people.

A recurring EVENT (ex: trade conference, music festival, seminar series, art show, community fair, sports tourney, etc) is an asset. Assets have Value. So how does one go about putting Value -- both hard and soft-- on an Event? What is the difference between Hard and Soft Value. We have thoughts on this...and can share them.

New Post: Latin Artists Fuel Dramatic Growth of Spain’s Live?Scene - https://lnkd.in/g8ZpZccT - Thirty-three shows by Latin artists — including Christian Nodal, Camilo, Emilia, Nicki Nicole and Eladio Carrión — are set to take place at the WiZink Center arena in Madrid this year, out of a total of 97 planned concerts. That’s triple the number of shows by Latin artists who performed at the venue in 2019. Nearby, at Santiago Bernabéu Stadium, which will soon reopen after a three-plus-year renovation, Mexican star Luis Miguel will be the first artist to play two back-to-back shows at the venue when he headlines in July. The numbers provide a glimpse of Spain’s shifting musical tastes and exploding touring market. According to the country’s Association of Musical Promoters, 2022 ticket revenue reached a record gross of 459?million euros ($492?million); the 2023 Primavera Sound festival in Barcelona drew 500,000 fans over two weekends, according to the concert promoters association. For touring in Spain, the pandemic also demarcated a distinct before and after, with Spanish-speaking acts coming from Latin America and the United States now touring in Spain more than English-speaking acts. “We could, perhaps, consider Rosalía as a precursor since she introduced and popularized internationally style that had not yet fully taken off in Spain and is now incredibly popular and growing day by day,” WiZink Center director Paz Aparicio says. Related Spain’s Music Market Is Booming As It Welcomes Latin Talent From Around The?Globe 03/08/2024 Rosalía’s global appeal helped catalyze the shift, along with listeners who are now more open to music in a variety of styles beyond Spain’s long-dominant traditional pop. And Latin music’s growth in the United States — where the genre’s revenue has surpassed $1?billion with a 24% growth that outpaced the overall market, according to IFPI — has also bolstered demand overseas. “The U.S. is the country with the greatest strength and influence in the development of cultural and commercial phenomena. In fact, Spain and Europe have always looked more toward what has come from there. It has always been our main reference,” explains Alfonso Santiago, CEO of Last Tour, which promotes festivals such as Bilbao BBK Live and BIME Live. “I believe that the high number of Latinos in the U.S. is key, the fact that music in Spanish is occupying more and more space there every day is very important.” Today, Spain’s Latin touring scene is very eclectic, making the country a key market for new Latin artists. “In the past, very little Latin was produced in Spain, and programming more alternative artists was very

The tears from the local industry players and creatives do reek of a layered brand elitism. It’s fashionable to cry for the Grammys. Even though we’re technically guests, invited to an American spectacle to diversify their ranks. We’re still fringe players at the Recording Academy, with negligible numbers incapable of swinging the odds in our favour. We still have a few voting cycles to cry some more. And that privilege of crying depends on Afrobeats maintaining its hold on pop culture. We are still building over there, and todays lesson teaches us that growth isn’t linear. Afrobeats, please hold this one. Where was this level of support for the Headies, Nigeria’s homegrown, legacy award show with 16 years of honouring the local scene? Nominees are often absent and late. The chatter about the show borders on derisory. We don’t pack our halls in honour of the event, neither are we interested in elevating it. But we can cry for the Grammy. Fashionable tears for what could have been. What we need is to return home. Tails between our legs as the realisation that all we got is us. And if we don’t take care of home, build, support and elevate it locally, we at risk of delegating our pride to foreigners. Afrobeats have intrinsic value. But the current business model has funneled the entire ecosystem into exportation. And while we can boast of improved finances and investment pathways, we’re now forced to negotiate our cultural impact on parameters that weren’t created for us, in spaces where our existence is still a moot point. Why are we hurt? Because we are playing a game that wasn’t created for us. And it sucks to lose. Perhaps, this spurs us as a creative and business class. To look inward and see our worth within us. That our local industry and all its institutions are enough, and exploration is just what it is; exploration. Perhaps across the continent, we can resurrect our reward systems, intentionally imbuing cultural power and credibility in local award shows and bodies that seek to celebrate us. And to see those platforms worthy of our artistry and ego. The Grammys snubbed Nigeria this year. And rather than mope around and petulantly kick some dust, let’s fight back by getting stronger at home. It’s the only way out.

"Go for it, but be prepared for lots of problems like acts pulling out last minute etc, pressure to #promote & never ever give up it’s worth it for the buzz you get when you pull it off. You will get rejected for trying to support others, you will get naysayers & you will get people saying you can’t possibly achieve it. What you’ve got to do is say watch me, be determined, have passion in what you believe in, & be driven enough & determined enough to prove people wrong. Stick to your beliefs & find like-minded people for support & stick with them, none of us succeeds alone but we can try even better especially if we’re together. The more people like that you get on your side the more likely you’ll have successful events. I don’t believe in running down competition we are all part of the grassroots #community and should all help each other out, other #promoters should all help and support each other especially if they are based at the same #venue, as it all helps each other’s to be successful. A busy venue equals a busy #event." https://lnkd.in/eXui_h2d

Madonna threw a free concert in celebration of her 40th year in music. And 1.6 Million people attended. That alone is a pretty staggering display of "star power" and influence. But that's not the wildest part of the story. In bringing that many people out to the streets of Rio De Janeiro (where the concert was held) authorities estimate that Madonna helped inject ￡46M into the local economy. Whenever we see things like this in the news, it's easy to look at the surface-level headline and say "That's cool". But if you take a second to think about the broader impact, things like this should be given a much bigger spotlight. Free concerts and events held by global stars have a far bigger positive impact on people's lives than they get credit for. In this example, approximately ￡46M has gone into a city, funding small businesses and the local government etc. Perhaps there's an argument to say more brands and influencers should explore free in-person events, like this ?? But either way, I think it's clear that it deserves a little acknowledgement.

New Post: Belmont Conference Addresses the Unique Mental Health Challenges On Nashville’s Music?Row - https://lnkd.in/g2ubb-4P - Music industry professionals are not, by definition, first responders, but they do have the ability to rescue people. That fact alone may be a buoy for many music-affiliated workers who are suffering their own form of burnout, despondency or depression. Reminding music professionals of their product’s impact is one of the finer points delivered during 24/7: A Mental Health in Entertainment Conference, presented Aug. 7 by Belmont University in Nashville. “I’ll have individuals in the industry come to me and say, ‘Well, it’s not like we’re doing brain surgery. I know our place in the music industry isn’t that important,’ ” Entertainment Health Services president Elizabeth Porter?said during the conference’s “Work/Life Unbalanced” workshop. “I say it’s more important … I say there’s two big influencers in the world: the entertainment industry and politics.” Related Mike Curb’s Belmont Partnership Looks to Bolster Nashville’s Future Music?Business 05/06/2024 Politics is all too often divisive. Music, at its best, can rally a group — or, at least, an individual. Porter’s Call founder Al Andrews?remembered a “very dark and suicidal time” decades ago when he discovered Jennifer Warnes‘ “Song of Bernadette,” and he played it repeatedly, reveling in its healing message as he bounced back. During his work as a therapist, Andrews has encountered numerous stories about songs that led his patients back from the brink. “We all have moments when we are rescued, moments where we were sinking and someone threw a rope to us and pulled us in,” he said during the day’s closing session. “Often music is involved. Hope is accompanied by a soundtrack. It almost always is.” The power of music is what pulls many into the industry’s labor force. But the experience of working daily with emotions — particularly when companies are understaffed and the job never seems to stop — makes music’s employees particularly vulnerable to burnout and depression. The allure of a vocation connected to fame and entertainment compounds the issue. “We have a really unique industry because I think it’s one of the only ones that ties so closely to our personal identities,” C3 Presents festival director Brad Parker said. “The pandemic showed that to a lot of us. I kind of felt like part of me was stripped away whenever live music went away during the pandemic, and I did a lot of soul searching to really reinforce that people enjoy Brad Parker outside of the