Posted inSandbox

Sandbox Issue 265: Distributors’ New Playlist Game-Plan

Lead: Distributors’ New Playlist Game-Plan: Distributors, keen to place songs onto powerful playlists, are becoming much more proactive in their approach – whether that means building standalone playlist brands with large followings, or sweet-talking a network of curators like old-school radio pluggers. We talk to FUGA, Idol, ONErpm and CD Baby about the new approaches distributors […]

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Posted inNews

Beabadoobee talks Fake It Flowers, Spotify and lockdown creativity

“It’s so hard to stay positive in a time like this, but it’s about finding the little things. Once this is all over, there’s going to be the Summer of Love, and festivals, and touch. I can’t wait!”

Beatrice Kristi Laus – aka Beabadoobee – is looking for the silver linings in the Covid-19 pandemic, although she’s not dodging the fact that it’s a “complete shitshow”.

Another silver lining: lockdown has given her the time and space to fully concentrate on the finishing touches for her debut album ‘Fake It Flowers’, which comes out in October. “I’ve been given so much time to perfect the aesthetic,” she tells Music Ally.

Part of that aesthetic will be a print zine gathering together artwork, Polaroid photos and stories (plus a CD) that will be offered to her top listeners on Spotify, as part of a wider partnership with the streaming service.

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Jamie Oborne talks The 1975: ‘We still believe in albums!’

Jamie Oborne is the owner and CEO of Dirty Hit Records and All on Red Management, working with The 1975, Wolf Alice and Benjamin Francis Leftwich among other artists. He was also the opening speaker at Music Ally’s Sandbox Summit conference in London this morning, interviewed by our very own Eamonn Forde.

“Marketing is about setting up problems to solve, as much as it’s about communication,” he said. “The problem for a band in the modern landscape is how do we navigate a shrinking physical marketplace, which has always been the anchor point for an alternative artist, and how do we bridge into the digital DSPs, to streaming, to the modern music landscape?”

“Fortunately The 1975 have always streamed really well for a band. They have music that connects with people quite easily, so we didn’t face the same challenges that an artist like Idles or any guitar band you can think of would face, because our streaming has always been at the upper end of what a band would have. But we don’t really have radio hits: these conventional drivers that cause consumption. So the problem that I presented and I wanted to solve was how do we compete with pop and urban records on DSPs?”