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YOUTUBE TO EXCLUSIVELY LIVESTREAM COACHELLA 2017 INCLUDING HEADLINERS LADY GAGA, KENDRICK LAMAR, and RADIOHEAD. Tune in to watch select live performances April 14-16. Watch select acts in Live 360. Build a personalized schedule of performances with an interactive calendar.

April 4, 2017 (San Bruno, CA) — For the seventh year in a row, YouTube returns to exclusively livestream the first weekend of Coachella 2017. Presented by T-Mobile, music fans from around the world can tune-in to Coachella’s YouTube channel on any screen (desktop, mobile and living room) from April 14 -16, to catch performances of both emerging artists and some of the hottest artists in the world including Lady Gaga, Kendrick Lamar, Radiohead, Lorde, Bon Iver, The xx, Future, ScHoolboy Q, Two Door Cinema Club, New Order, and Gucci Mane.

Viewers can choose from 3 always-on channels as well as a live 360 mode that will appear for select performances. Fans can also find a video-on-demand hub to see highlights and footage from their favorite performers throughout the weekend.

New this year: take a sneak peek inside of the famous underground dance music Yuma tent for the first time ever. Users can also opt in to get browser alerts when their favorite artists go live.

The webcast will once again be hosted by KCRW’s Jason Bentley and co-host Francesca Fiorentini bringing you interviews from artists and creators around the festival, and backstage in the artist lounge.

Fans can also create personalized viewing schedules to feature the live acts they want to see, where livestream channels will automatically change to artists they’ve selected.

Additional details on specific artist livestreams to come. Subscribe to Coachella’s YouTube channel to watch the latest videos and relive past moments.

ABOUT YOUTUBE

Launched in May 2005, YouTube allows billions of people to discover, watch and share originally-created videos. YouTube provides a forum for people to connect, inform, and inspire others across the globe and acts as a distribution platform for original content creators and advertisers large and small. YouTube is a Google company.

Has music streaming killed the instrumental intro? Short attention spans inspire intros that are four times shorter, study finds.

COLUMBUS – Remember those drawn-out, dramatic intros into the pop power ballads of the 80s? They’re all but gone in today’s chart toppers, according to new research, and listeners’ short attention spans may be to blame.

Intros that averaged more than 20 seconds in the mid-80s are now only about 5 seconds long, the study found.

Depending on what rocks your musical world, the popularity of streaming services might be to thank or to curse for a move away from the instrumental intro, said Hubert Léveillé Gauvin, a doctoral student in music theory at The Ohio State University. His study appears in the journal Musicae Scientiae.

Léveillé Gauvin spent a couple months listening to and analyzing songs that hit the top 10 from 1986 to 2015 and found a dramatic shift away from long intros. He also documented a marked increase in tempo.

And Léveillé Gauvin discovered that singers of the most recent successful songs hardly waste any time before mentioning the song title in the lyrics. Another change he found: Song names today are shorter than they used to be – often just a single word.

This evolution is likely driven by what Léveillé Gauvin calls the “attention economy” of modern-day pop. And that means that artists get to the musical point more quickly in the interest of grabbing a fickle listening audience, many of whom tune in on Spotify, Pandora and other skippable services.

“It’s survival-of-the-fittest: Songs that manage to grab and sustain listeners’ attention get played and others get skipped. There’s always another song,” Léveillé Gauvin said. “If people can skip so easily and at no cost, you have to do something to grab their attention.”

Rather than looking for direct income on streaming services, artists are looking for something else –to drive listeners to their concerts or to other products they sell, he said.

“Artists and producers are shifting from having their songs as cultural products to having their songs as advertisements for themselves. Your product isn’t necessarily your song, it’s your personal brand,” Léveillé Gauvin said.

“We’re operating in an ‘attention economy,’ and attention is scarce and valuable.”

Léveillé Gauvin measured the tempo of 303 top-10 singles and found a clear trend toward faster-paced pop music in the last three decades. The average tempo increased roughly 8 percent. He compared the number of words in song titles and found more and more “one-word wonders” as the years passed.

When he analyzed how long it took for the lyrics to start, Léveillé Gauvin found that intros lasting an average of more than 20 seconds in the mid-80s have given way to intros that average 5 seconds today. And once the lyrics started, it took less time (by about 18 percent) for the first “hook,” which he defined as the song’s title.

“The really striking thing was the disappearance of the intro,” he said. “There was a 78 percent drop. That’s insane, but it makes sense. The voice is one of the most attention-grabbing things there is in music.”

To see the difference, look to 1987’s “Nothing’s Gonna Stop Us Now” by Starship and compare it to Maroon 5’s 2015 pop hit “Sugar.”

Starship takes about 22 seconds to reach the first lyrics of its mid-tempo song and doesn’t get to the hook until after Grace Slick’s voice enters the duet that Mickey Thomas started. The listener has heard well over a minute of music before learning that Starship will not be stopped.

“It’s also super 80s,” Léveillé Gauvin said.

Maroon 5, in contrast, gets to the point quickly in its one-word-titled up-tempo hit. The intro is half as long as Starship’s and Adam Levine is singing the hook “Sugar” within 40 seconds.

There are exceptions to the trend. Take Gotye’s “Somebody That I Used To Know.” The 2012 earworm has a title almost three times longer than other chart toppers that same year. Its 20-second instrumental introduction was four times longer than average. And a listener waits two full minutes before the hook.

A fifth measure didn’t reveal any scientifically significant changes during the 30 years of music. Léveillé Gauvin thought it was possible that today’s songs would include more self-focused lyrics, but he did not see a pattern.

In a second study, Léveillé Gauvin evaluated data provided by Spotify to see if popular songs by a given artist were more likely to fit the attention-grabbing trend than less-popular songs released by the same artist. For the study, he looked at the most-streamed songs on Spotify and compared those to the least-streamed songs by the same artist.

He found no evidence of the “attention economy” hypothesis in that study.

Music continually evolves, driven by a variety of factors, and there’s no way to explain away all the changes Léveillé Gauvin saw based on streaming services and the “skip” button alone, he said.

But he believes they are certainly contributing.

“If you look back historically, technological changes have likely shaped the way people compose and listen to music for a long time,” he said, adding that the compact disc brought along an ease of skipping that was leaps and bounds ahead of vinyl or cassette tapes.

So, is this attention-driven shift a bad thing for pop music?

“It’s very easy to see this in a cynical way. It’s not necessarily a negative thing; it’s just the nature of the beast,” Léveillé Gauvin said.

— Written by Misti Crane

Nielsen Music: ACM Awards Insights

The ACM Awards were held at T-Mobile Arena in Las Vegas April 2, and some of the biggest names in country music took the stage to showcase their talents. Nielsen Music has been tracking the immediate consumer reaction to last night’s winners and performances, and is sharing digital sales insights for their songs and albums. See below for just a few of the highlights.

Digital Sales:

· Miranda Lambert took home Female Vocalist of the Year and gave an emotional solo performance of “Tin Man,” which boosted digital sales of the track for a 12,215% increase on Sunday. Her album, The Weight of These Wings, also saw a sizable lift of 972%.

· Reba McEntire gave a powerful performance of her song “Back to God” with Lauren Daigle, driving a 1,172% increase in digital sales compared to Saturday.

· Winners of Vocal Group of the Year, Little Big Town gave one of the evening’s most vibrant performances with an uptempo rendition of their single, “Happy People,” which saw a notable 1,110% increase in digital sales on Sunday.

· The Maryland duo, Brothers Osborne, won two ACM Awards and performed “It Ain’t My Fault,” helping sales of the song surge 517%. Their debut album, Pawn Shop, also saw an increase of 404%.

· Fresh off her Grammy win for Best Country Solo Performance, Maren Morris doubled down at the ACM Awards, winning New Female Vocalist of the Year. Sales of Morris’ album, Hero, increased by 285% on Sunday.

· Country music legends Tim McGraw and Faith Hill gave a heartfelt duet performance of their song “Speak to a Girl,” resulting in a 510% increase compared to Saturday.

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Staff Reports