As the music industry moves away from downloads and toward building streaming platforms, international sovereignty becomes more of a barrier to people listening to music and discussing it with others, because they don’t have access to the same music on the same platforms. As Sean Michaels points out in The Morning News several years ago:
one of the undocumented glitches in the current internet is all its asymmetrical licensing rules. I can’t use Spotify in Canada (yet). Whenever I’m able to, there’s no guarantee that Spotify Canada’s music library will match Spotify America’s. Just as Netflix Canada is different than Netflix US, and YouTube won’t let me see Jon Stewart. As we move away from downloads and toward streaming, international sovereignty is going to become more and more of a barrier to common discussions of music.
Location has always been a challenge to music access, but it’s important to keep in mind that the internet and music streaming has not been an equitable boon to music access—it is still controlled.
This past year I added some additional datasets to the Splunk environment I use to analyze my music: information about tickets that I’ve purchased, and information about upcoming concerts.
Ticket purchase analysis
I started keeping track of the tickets that I’ve purchased over the years, which gave me good insights about ticket fees associated with specific ticket sites and concert promoters.
Based on the data that I’ve accumulated so far, Ticketmaster doesn’t have the highest fees for concert tickets. Instead, Live Nation does. This distinction is relatively meaningless when you realize they’ve been the same company since 2010.
However, the ticket site isn’t the strongest indicator of fees, so I decided to split the data further by promoter to identify if specific promoters had higher fees than others.
Based on that data you can see that the one show I went to promoted by AT&T had fee percentages of nearly 37%, and that shows promoted by Live Nation (through their evolution and purchase by Ticketmaster) also had fees around 26%. Shows promoted by independent venues have somewhat higher fees than others, hovering around 25% for 1015 Folsom and Mezzanine, but shows promoted by organizations whose only purpose is promotion tend to have slightly lower fees, such as select entertainment with 18%, Popscene with 16.67%, and KC Turner Presents with 15.57%.
I realized I might want to refine this, so I recalculated this data, limiting it to promoters from which I’ve bought at least two tickets.
It’s a much more even spread in this case, ranging from 25% to 11% in fees. However, you can see that the same patterns exist— for the shows I’ve bought tickets to, the independent venues average 22-25% in fees, while dedicated independent promoters are 16% or less in added fees, with corporate promoters like Another Planet, JAM, and Goldenvoice filling the middle of the data ranging from 18% to 22%.
I also attempted to determine how I’m discovering concerts. This data is entirely reliant on my memory, with no other data to back it up, but it’s pretty fascinating to track.
It’s clear that Songkick has become a vital service in my concert-going planning, helping me discover 46 shows, and friends and email newsletters from venues helping me stay in the know as well for 19 and 14 shows respectively. Social media contributes as well, with a Facebook community (raptors) and Instagram making appearances with 10 and 2 discoveries respectively.
Concert data from Songkick
Because Songkick is so vital to my concert discovery, I wanted to amplify the information I get from the service. In addition to tracking artists on the site, I wanted to proactively gather information about artists coming to the SF Bay Area and compare that with my listening habits. To do this, I wrote a Songkick alert action in Python to run in Splunk.
Songkick does an excellent job for the artists that I’m already tracking, but there are some artists that I might have just recently discovered but am not yet tracking. To reduce the likelihood of missing fast-approaching concerts for these newly-discovered artists, I set up an alert to look for concerts for artists that I’ve discovered this year and have listened to at least 5 times.
To make sure I’m also catching other artists I care about, I use another alert to call the Songkick API for every artist that is above a calculated threshold. That threshold is based on the average listens for all artists that I’ve seen live, so this search helps me catch approaching concerts for my historical favorite artists.
Also to be honest, I also did this largely so that I could learn how to write an alert action in Splunk software. Alert actions are essentially bits of custom python code that you can dispatch with the results of a search in Splunk. The two alert examples I gave are both saved searches that run every day and update an index. I built a dashboard to visualize the results.
I wanted to use log data to confirm which artists were being sent to Songkick with my API request, even if no events were returned. To do this I added a logging statement in my Python code for the alert action, and then visualized the log statements (with the help of a lookup to match the artist_mbid with the artist name) to display the artists that had no upcoming concerts at all, or had no SF concerts.
For those artists without concerts in the San Francisco Bay Area, I wanted to know where they were going instead, so that I could identify possible travel locations for the future.
It seems like Paris is the place to be for several of these artists—there might be a festival that LAUER, Max Cooper, George Fitzgerald, and Gerald Toto are all playing at, or they just happen to all be visiting that city on their tours.
I’m planning to publish a more detailed blog post about the alert action code in the future on the Splunk blogs site, but until then I’ll be off looking up concert tickets to these upcoming shows….
The annual Noise Pop music festival starts this week, and I purchased a badge this year, which means I get to go to any show that’s a part of the festival without buying a dedicated ticket.
That means I have a lot of choices to make this week! I decided to use data to assess (and validate) some of the harder choices I needed to make, so I built a dashboard, “Who Should I See?” to help me out.
First off, the Wednesday night show. Albert Hammond, Jr. of the Strokes is playing, but more people are talking about the Baths show the same night. Maybe I should go see Baths instead?
If I’m making my decisions purely based on listen count, it’s clear that I’m making the right choice to see Albert Hammond, Jr. It is telling, though, that I’ve listened to Baths more recently than him, which might have contributed to my indecision.
The other night I’m having a tough time deciding about is Saturday night. Beirut is playing, but across the Bay in Oakland. Two other interesting artists are playing closer to home, Bob Mould and River Whyless. I wouldn’t normally care about this so much, but I know my Friday night shows will keep me busy and leave me pretty tired. So which artist should I go see?
It’s pretty clear that I’m making the right choice to go see Beirut, especially given my recent renewed interest thanks to their new album.
I also wanted to be able to consider if I should see a band at all! This isn’t as relevant this week thanks to the Noise Pop badge, but it currently evaluates if the number of listens I have for an artist exceeds the threshold that I calculate based on the total number of listens for all artists that I’ve seen live in concert. To do this, I’m evaluating whether or not an artist has more listens than the threshold. If they do, I return advice to “Go to the concert!” but if they don’t, I recommend “Only if it’s cheap, yo.”
Because I don’t need to make this decision for Noise Pop artists, I picked a few that I’ve been wanting to see lately: Lane 8, Luttrell, and The Rapture.
While my interest in Lane 8 has spiked recently, there still aren’t enough cumulative listens to put them over the threshold. Same for Luttrell. However, The Rapture has enough to put me over the threshold (likely due to the fact that I’ve been listening to them for over 10 years), so I should go to the concert! I’m going to see The Rapture in May, so I am gleefully obeying my eval statement!
On a more digressive note, it’s clear to me that this evaluation needs some refinement to actually reflect my true concert-going sentiments. Currently, the threshold averages all the listens for all artists that I’ve seen live. It doesn’t restrict that average to consider only the listens that occur before seeing an artist live, which might make it more accurate. That calculation would also be fairly complex, given that it would need to account for artists that I’ve seen multiple times.
However, number of listens over time doesn’t alone reflect interest in going to a concert. It might be useful to also consider time spent listening, beyond count of listens for an artist. This is especially relevant when considering electronic music, or DJ sets, because I might only have 4 listen counts for an artist, but if that comprises 8 hours of DJ sets by that artist that I’ve listened to, that is a pretty strong signal that I would likely enjoy seeing that artist perform live.
I thought that I’d need to get direct access to the MusicBrainz database in order to get metadata like that, but it turns out that the Last.fm API makes some available through their track.getInfo endpoint, so I just found a new project! In the meantime I am able to at least calculate duration for tracks that exist in my iTunes library.
I now have a new avenue to explore with this project, collecting that data and refining this calculation. Reach out on Twitter to let me know what you might consider adding to this calculation to craft a data-driven concert-going decision-making dashboard.
This past year has been pretty eventful in music for me. I’ve attended a couple new festivals, seen shows while traveling, and discovered plenty of new bands. I want to examine the data available to me and contrast it with my memories of the past year.
Spotify released its #2018wrapped campaign recently, sharing highlights from the year of my listening data with me (and in an ad campaign, aggregate data from all the users). As someone that uses Spotify but not as my exclusive source of music listening, I was curious to compare the results with my holistic dataset that I’ve compiled in Splunk.
Spotify’s top artists for me were somewhat different from the results that I found from the data I gather from Last.fm and analyze with Splunk software. Spotify and my holistic listening data agree that I listened to Poolside more than anyone else, and was also a big fan of Born Ruffians, but beyond that they differ. This is probably due to the fact that I bought music and when I’m mobile I switch my primary listening out of Spotify to song files stored on my phone.
In addition, my top 5 songs of the year were completely different from those listed in Spotify. My holistic top 5 songs of the year were all songs that I purchased. I don’t listen to music exclusively in Spotify, and my favorites go beyond what the service can recognize.
Spotify identified that I’ve listened to 30,473 minutes of music, but I can’t make a similarly reliable calculation with my existing data because I don’t have track length data for all the music that I’ve listened to. I can calculate the number of track listens so far this year, and based on that, make an approximation based on the track length data that I do have from my iTunes library. The minute calculation I can make indicates that I’ve so far spent 21,577 minutes listening to 3,878 of the 10,301 total listens I’ve accumulated so far this year (Numbers to change literally as this post is being written).
I’m similarly lacking data allowing me to determine my top genre of the year, but Indie is a pretty reliable genre for my taste.
Other Insights from 2018
I was able to calculate my Top 10 artists, songs, and albums of the year, and drill down on the top 10 artists to see additional data about them (if it existed) in my iTunes library, like other tracks, the date it was added, as well as the kind of file (helping me identify if it was purchased or not), and the length of the track.
There are quite a few common threads across the top 10 artists, songs, and albums, with Poolside, Young Fathers, Gilligan Moss, The Vaccines, and Justice making consistent appearances. The top 10 songs display obsessions with particular songs that outweigh an aggregate popularity for the entire album, leading other songs to be the top albums of the year.
Interestingly, the Polo & Pan album makes my top 10 albums while they don’t make it to my top 10 artist or song lists. This is also true for the album Dancehall by The Blaze. I’m not much of an album listener usually, but I know I listened to those albums several times.
The top 10 song list is more dominated by specific songs that caught my attention, and the top 10 artists neatly reflect both lists. The artists that have a bit more of a back catalog also reveal themselves, given that Born Ruffians managed to crack the top 10 despite not having any songs or albums make the top 10 lists, and Hey Rosetta! makes the top artist and album lists, despite having no top songs.
I purchased 285 songs this year, an increase of 157 compared to the year before. I think I just bought songs more quickly after first hearing them this year, and there are even some songs missing from this list that I bought on Beatport or Bandcamp because they weren’t available in the iTunes Store. While I caved in to Spotify premium this year, I still kept up an old promise to myself to buy music (rather than acquire it without paying for it, from a library or questionable download mechanisms) now that I can afford it.
A Year of Concerts
I’ve been to a lot of concerts so far this year. 48, to be exact. I spent a lot of money on concert tickets, both for the shows I attended this year and for shows that went on sale during 2018 (but at this point, might be happening in 2019). I often will buy tickets for multiple people, so this number isn’t very precise for my own personal ticket usage.
I managed to go to at least 2 concerts every month. By the time the year is over, I’m on track to go to 51 different shows. Based on the statistics, there are some months where I went to many more than 1 show per week, and others where I didn’t. Especially apparent are the months with festivals—February, August, and October all included festivals that I attended.
Many of those festivals brought me to new-to-me locations, with the Noise Pop Block Party and Golden Gate Park giving me new perspectives on familiar places, and Lollapalooza after shows bringing me out to Schubas Tavern for the first time in Chicago.
If you’re reading this wondering what San Francisco Belle is, it’s a boat. That’s one of several new venues that electronic music brought me to—DJ sets on that boat as part of Goldroom and Gigamesh’s tour, plus a day party in Bergerac and a nighttime set at Audio other times throughout the year.
Some of those new venue locations brought newly-discovered music to me as well.
The 20th-most-popular artist I discovered this year was Jenn Champion, who opened for We Were Promised Jetpacks at their show at the Great American Music Hall. I started writing this assuming that I hadn’t heard Jenn Champion before that night, but apparently I first discovered them on July 9, but the show wasn’t until October 9.
As it turns out, I listened to what is now my favorite song by Jenn Champion that day in July, likely as part of a Spotify algorithm-driven playlist (judging by the listening neighbors around the same time) but it didn’t stick until I saw them play live months later. The vagaries of playlists that refresh once a week can mean fleeting discoveries that you don’t really absorb.
Because of how I can search for things in Splunk, I was also curious to see what others songs I heard when I first discovered Hubert Kirchner, a great house artist.
I have really no idea what playlist I was listening to that might have led to me making jumps from Sofi Tukker, to Tanlines, to Dion, to Deradoorian, then to Hubert Kirchner, Miguel, How to Dress Well, Rihanna, Selena Gomez, and Descendents. Given that August 24th was a Friday, my best guess is perhaps that it was a Release Radar playlist, or perhaps an epic shuffle session.
For the top 20 bands I discovered in 2018, many of them I started listening to on Spotify, but not necessarily because of Spotify. Gilligan Moss was a discovery from a collaborative playlist shared with those that are also in a Facebook group about concert-going. I later saw them at one of the festivals I went to this year, and it even turned out that a friend knew one of the band members! Their status as my most-listened-to discovery of this year is very accurate.
Polo & Pan was a discovery from a friend, fully brought to life with a playlist built by Polo & Pan themselves and shared on Spotify. Spent some quality time sitting in a park listening to that playlist and just enjoying life. They were at the same festival as Gilligan Moss, playing the same day, making that day a standout of my concerts this year.
Karizma was a discovery from Jamie xx’s set at Outside Lands. I tracked down the song from the set with the help of several other people on the internet (not necessarily anyone I knew) and then the song that was from the set itself wasn’t even on Spotify itself (Spotify, however, did help me discover more of the artist’s back catalog, like my other favorite song ‘Nuffin Else) Apparently I was far behind the curve hearing the song from the set, since it came out in 2017 and was featured in a Chromebook ad, but Work It Out still made me lose my mind at that set. (For the record, so did Take Me Higher, a song I did not manage to track down at all, and have so much thanks for the person that messaged me on Facebook ages later to send me the link!)
Similarly, Luxxury was a DJ I first spotted on a cruise that I went on because it featured other DJs I had heard of from college, Goldroom and Gigamesh, whom I’d discovered through remixes of songs I downloaded from mp3 blogs like The Burning Ear.
~ Finding Meaning in the Platforms ~
Many of these discoveries were deepened by Spotify, or had Spotify as a vector—through a collaborative playlist, algorithmically-generated one, or the quick back-catalog access for a new artist—but don’t rely on Spotify as a platform. I prefer to keep my music listening habits platform-adjacent.
Spotify, SoundCloud, iTunes, Beatport and other music platforms I use help make my music experiences possible. But the artists making the music, performing live in venues that I have the privilege to live near and afford to visit, they are creating what keep my mind alive and energized.
The social platforms too, mediate the music-related experiences I’ve had, whether it’s with the people I share music and concert experiences with in a Facebook group, the people I exchange tracks and banter with in Slack channels, or those of you reading this on yet another platform.
I like to listen to music that moves me, physically, or that arrests my mind and takes me somewhere. More now than ever I realize that musical enjoyment for me is an intense instantiation of the continuous tension-and-release pattern that exists in so many human art forms. The waves of neatness that clash and collide in a house music track, or the soaring crescendos of harmonies.
It’s become clear to me over the years that I can’t separate my enjoyment of music from the platforms that bring me closer to it. Perhaps supporting the platforms in addition to the musical artists, performers, and venues, is just another element of contributing to a thriving music scene.
I used my music data to look up my favorite artists that I discovered in 2017. These are the ones that are the memorable favorites, beyond the statistical favorites.
This one is a surprise but a good reminder that small obsessions can make a big difference in overall statistics. I have The Burning Ear to thank for this discovery, and Spotify for entertaining it.
I discovered this artist because they’re touring as the headliner with Gibbz, who I was already familiar with. The groovy vibe of this artist took those tickets from a probable insta-purchase to an actual insta-purchase.
A discovery thanks to The Burning Ear, I discovered Jason Gaffner’s nu-disco grooves around the same time that I got obsessed with some songs by Gibbz (who I must’ve discovered in 2016). I bought this song soon after and am keeping an eye out for new releases.
I heard Alex Cruz for the first time when I was in Greece, listening to a set that my friend started playing. It took me three tries to figure out who she was talking about, and then I discovered a few of his sets that he puts out as the Deep and Sexy Podcast.
I can’t remember if I started listening to Perfume Genius because of Discover Weekly or the Song Exploder podcast, but damn they’re good. My only regret is that I discovered them too late to get tickets to their sold out show.
I don’t remember how I discovered this artist. I think it was an autoplay on SoundCloud after listening to some tracks The Burning Ear had posted? Either way, I fell in love with this remix.
I came across this band on The Burning Ear too. I think they’ll be around for Noise Pop next year so I’ll have to decide if I want to go see them. I’m mostly in love with this song.
He opened for the xx, so I checked out his Spotify page after I found out he was opening for them. Sweet, sweet grooves.
This guy showed up in my Discover Weekly playlist. I really like this song, but didn’t get as into the rest of his songs. Still a damn good song tho.
I enjoyed her song Little Brother so much that I got tickets to see her next year. I’ll be keeping an eye out for new releases from her as well.
Less notable discoveries:
I came across this band on SoundCloud through The Burning Ear again. This song was an easy purchase because it’s so catchy.
This artist showed up on my Discover Weekly playlist. Great for fans of Bon Iver.
This was another The Burning Ear discovery, and an easy purchase!
The Full List
The full list of 35 artists that had more than 10 listens each, first listened to in 2017:
A New Dawn
As Time Was Passing By
In Another Room
Invisible / Amenaza
It’s All Over
It’s All Over – John Talabot’s Stripped Refix
Of My Mind
The Way That You Like
Giving Up The Ghost
Oh Love, How You Break Me Up
Wear Your Demons Out
Feel Something (Garruda Remix)
Losing My Mind
Losing My Mind (3 Monkeyzz Remix)
Murder In The First Degree
Murder In The First Degree (Aristo G Remix)
Phantom (Keljet Remix)
When The Sun Goes Down
(No One Knows Me) Like The Piano
Beneath The Tree
Blood On Me
Take Me Inside
What Shouldn’t I Be?
Pull Me Up
Be Honest (Attom Remix)
Bleed Into The Water
Frustrated – Russ Macklin Remix
Hail the Underdog
In Slow Motion
On the Mountain by the Sea
People of the Future
When People Come Together
Alright (Karl Kling Remix)
Old Chunk of Coal
Sons Of Lightning (Super Duper Remix)
Waves That Rolled You Under (backstroke. Remix)
Cold to the Touch
Cold to the Touch – Nicolaas Remix
This Is Funky
Haunting – Original Mix
Haunting – Radio Edit
Haunting – Sebastien Radio Edit
Haunting – Sebastien Remix
Haunting [ANR063] – Sebastien Remix
Rubberband – Radio Edit
Shoreline – Extended Mix
Sweet Child – Club Mix
Sweet Child – Extended
Sweet Child – Original Mix
Five Hour Winnipeg
The Plural of Moose Is Moose
Crowd Goes Wild
Last Man Standing
Must Be Dreaming
Spinning on Blue
Stars Across the Sky
The Best Part
Body’s In Trouble – Recorded at Spotify Studios NYC
My favorite shows of 2017. Here’s to more great ones in 2018!
October 27, 2017: DJ Aaron Axelson, Lewis Ofman, Yelle
Rickshaw Stop, San Francisco CA
Popscene became my favorite concert sponsor this year, in no large part because of the skills of their DJs. This show surpassed my low expectations to be a great time of dancing and grooving and new music discoveries.
February 23, 2017: Rad Dad, Gibbz
The Hotel Utah Saloon, San Francisco CA
A local band opened for an undersung nu-disco artist, Gibbz. A great way to open p Noise Pop week 2017, and unexpectedly great sound quality for such a small space. Excited to see Gibbz play again next year.
September 19, 2017: NVDES, RAC
The Independent, San Francisco CA
RAC has put on a spectactularly dance-able show every time I’ve seen them. This most recent adventure did not disappoint.
April 16, 2017: Sampha, The XX
Bill Graham Civic Auditorium, San Francisco CA
I would pay Jamie XX to DJ my life, but I can’t afford it. I could afford this show, though. It was incredible. Sampha was great too. Highlight: a mirror that appeared partway through the set that gave the audience a view of Jamie XX’s DJing and his dorky dance moves.
September 13, 2017: The Dirty Nil, Bleached, Against Me!
Regency Ballroom, San Francisco CA
Just as good as they were 10 years ago when I saw them in Chicago, if not better. A restorative and energetic show.
February 4 2017: Wheatus, Mike Doughty
The Independent, San Francisco CA
Wheatus played old hits and new jams, and Mike Doughty pulled them out to back him as he played a bunch of Soul Coughing songs. I was there more for his solo songs, but the artistry and adventure of his live conducting of the band behind him made for an incredible show that was supremely groove-able.
I attended my first Sofar Sounds show on Friday night. It was a great night, attending a show with a friend and making a few new friends with those that we were sharing a couch with. Sofar Sounds hosts shows in secret locations, from people’s houses, apartments, or even offices, that their community offers up.
As someone who went to a lot of DIY shows in college, the show was a bit surreal. The Sofar show had all the trappings of a DIY show: a crowd of people who care about music, who’ve all traveled there to see a show, a show organized by someone they know or another friend knows. Except in this case, the someone they know is instead a company that they’ve paid money to, and they don’t know the artists or the promoters or even the location until the day of the show.
Hastas playing, accompanied by visuals on a TV
Cyle Clyde performing on the fluorescent light.
The DIY shows I’ve been to were characterized by familiar faces, familiar locations, but also hardworking dedicated musicians and music lovers doing the promotion, organization, and crowd-wrangling. Shows in living rooms, basements, kitchens, and garages. Realizing years later that you should’ve worn earplugs. A network of people that once you break into, you can start going to even more shows in more and more places over the years as people move in or away.
The crux of it being, of course, breaking into the network. How do you find a community of like-minded people who have the resources to host and promote house shows, and are doing just that? Sofar Sounds takes people who have the resources to host house shows and connects them with bands and a predefined, curated audience. Sofar shows are like the Lyft of DIY shows, and the commercialization feels somewhat awkward. Sofar Sounds takes the DIY show model and tries to “solve” it with a business model.
Emma Silvers covers that business model in depth in her article A New Guest at Your House Show: The Middleman for KQED Arts. No longer do the musicians and music lovers have to do the promotion, organization, and crowd-wrangling on their own. Instead, they operate as volunteer “ambassadors” for Sofar Sounds, but don’t get paid and still have to do crowd-wrangling. The musicians, on the other hand, might not get paid anything at all. The audience is largely formed of strangers, selected based on applications for tickets by Sofar Sounds.
Perhaps because of all this, the community at the Sofar show felt constructed. Our “ambassador” made me feel like I was alternately at a sporting event or at a team-building exercise with his efforts to pump up the crowd and get us to bond with each other at the same time. Thankfully no one tried to fist bump me. We were all united in our love of music and our willingness to obey the rules about when we were supposed to leave or when we were supposed to talk. Overall, it felt distinctly constructed, rather than a true community of repeated faces like the DIY experimental/punk scene I’d known before.
At the show, I met some people that I enjoyed talking to and would want to see again. Therein lies another problem with the constructed community—it’s building a network behind Sofar Sounds, not behind the bands themselves. I may never see the people I met at the show again, because the network and the community of people attending the show is so far removed from those promoting and organizing it.
Nevertheless, the DIY network has limited reach, and Sofar might help bands break out of that network. If your DIY shows are always performed for your friends and your family, how do you attract new people? Building an organic community takes time, dedication, commitment, but doesn’t exactly pay you quickly. Sofar might act as a kind of shortcut to getting your music in front of new people that might not otherwise stumble into your community. Even if it also doesn’t pay you quickly, and even if they hear your one show and you never see them again.
What does this business model mean for local bars that host music? How many of the artists actually make money from the $15 cover that we’re willing to commit to this ~experience~? Perhaps next time I’ll spend my money at Hotel Utah Saloon or another local venue without the secrecy or the middleman. Maybe the next Sofar show should take you by surprise by happening at an existing venue, with local bands that get a full cut of the ticket cost. Of course, then we’re back at venues full of people that ostensibly don’t care about the music but rather the night they’re trying to have despite it.
As another alternate to Sofar Sounds, Group Muse also operates on the more commercialized house show model, but hearkens back to an even earlier method of hosting house shows—the era of chamber music. Capitalizing on the goodwill of hosts, the shows happen in the same sorts of venues as Sofar Sounds shows, and feature classical chamber music instead of more mainstream singer songwriter type music. However, musicians are paid by the audience, so the platform operates more realistically as a platform rather than a true middleman.
I’ve similarly been to one Group Muse event, and found it a great exposure to a type of music I wouldn’t have sought out otherwise. And that seems to be the real fun behind the secret show atmosphere. Someone has brought you to a place, you have already paid, and you have pretty low expectations of what you might be listening to. The openness that makes any sort of house show a success is already there. So overall, I can’t really complain too much.
The music industry has been disrupted a lot by technological advances, but artists continue to not get paid enough for what they do for us. So go to secret shows. Find house shows, find DIY shows, go to Sofar shows, go to Group Muses, and check out the acts playing at your local bar. Go out, dance hard, and pay up. It’s worth it.
Digital technology is central in our social and personal lives. Laptops, smartphones, and the apps installed on them allow us to communicate more frequently & at greater distances than ever before. This capability is reshaping those communications. This centrality of the role of tech mirrors the importance that churches once had in peoples’ lives. The Internet Archive could be aiming to bring this back, in a more physical manner.
Benedict Evans pointed out in a recent newsletter, “there’s a story to be written about Apple feeling its way from a piecemeal legacy technology stack for services, evolved bit by bit from the old iPod music store of a decade ago, to an actual new unified platform, something that it is apparently building.”
I’d argue for a focused set of decoupled applications, rather than a new unified platform. iTunes has bloated beyond practicality. The App store doesn’t work well for users or developers. Here’s where I think the future of these applications lies.
I used to subscribe to lots of MP3 blogs. I had lots of free time in high school, and listened fervently to the local college radio station (as I’ve mentioned before, in an autobiography through musical devices.) Music discovery is now fragmented across services—SoundCloud, Spotify, iTunes, Pandora, the now-defunct Rdio, and even 8tracks)—it’s both harder and easier to find new music. The wizardry of Shazam, too, means getting to find out what song is playing in the bar, store, or on the radio so you can buy it or find it later online.