In light of NY:LON CONNECT 2023, we asked Alex Kisch, EVP, Business Development & Affairs, General Counsel at Vevo – sponsor of the event’s “Changing nature of music formats” track – to […]
We’ve moved from a music industry based on physical sales to one driven by streams, but what are the new music formats looming?
This is a guest post from Carl Young, Head of Music & Talent, UK at Vevo. He uses exclusive Vevo data to explore how audiences in a “summer of nostalgia” – where big heritage […]
In the age of TikTok, it was impossible to ignore the worlds of influencers and short-form video at our Sandbox Summit Global conference last week.
Sessions included a fireside chat between Warner Records associate director of influencer marketing Jen Darmafall and Songfluencer CEO Johnny Cloherty, focusing on trends in the way labels and artists work with social stars.
“I would say TikTok these days is definitely the bread and butter of where we’re focusing most of our attention. It’s a big focus for us,” said Darmafall, adding that the clear correlation between TikTok success and spikes on music streaming platforms is the key reason for that.
However, Cloherty suggested that an emerging trend is for labels to not judge their influencer marketing campaigns purely on the streaming uplift.
Music videos firm Vevo has published a report called ‘The Anatomy of a Video Experience: a Multicultural Story’.
It analyses how people are watching video on various devices – TV, mobile and PC – as well as exploring whether there are differences in behaviour between demographics including Asian, Black / African-American, Hispanic / Latino and White viewers.
The report, which was produced with Magna and IPG Media Lab, unsurprisingly includes some findings that play neatly into Vevo’s business model: for example, 60% of each group is receptive to ads while watching music videos.
British artist Ellie Goulding has a pair of new videos out for her new tracks ‘Brightest Blue’ and ‘New Heights’.
They’re the result of a partnership between label Polydor and Vevo for the latter’s ‘Official Live Performance’ series, but what’s notable is their use of ‘XR’ technology, which blends camera footage with computer-generated content in real-time.
For ‘Brightest Blue’ it begins by adding lighting effects (blue, of course) as Goulding sings and then stage dressing is added and it ends with the camera pulling back to reveal the soundstage it was filmed on and the musicians performing live that were previously out of shot. ‘New Heights’ does something similar but focuses on an evolving backdrop instead.
Vevo has (understandably, given its business) spent a lot of time thinking hard about how music videos are watched online – the ‘growth hack the music video’ talk by exec Greg […]
Even when Vevo had its own on-demand music-videos website and apps, it was exploring the potential for linear (i.e. traditional-TV style) viewing. Now it’s doing that again, via a partnership […]
YouTube Algorithmic Death Spiral? We liked their early albums before they sold out… But no, a YouTube algorithmic death spiral is what Vevo is hoping to help artists avoid. Ed […]
Lead: The old rules of advertising are long gone – as is a lot of the inherent guesswork around advertising’s effectiveness. In its place has come greater tracking of ad spend and ad impact, but the entire process itself has become much more convoluted. We speak to those working in this rapidly changing world to […]
Ed Walker, VP of original content & production at Vevo, used his presentation at Music Ally’s Sandbox Summit to explain how to ensure videos on YouTube benefit from – rather than rub against – the platform’s recommendation algorithms.
Walker used Vevo’s catalogue of music videos and original content – more than 400k videos in total – to illustrate the kinds of tactics labels and artists should be thinking about. Vevo’s catalogue generated 76.3bn views on YouTube in the first quarter of 2019 alone.
A birthday we almost forgot about: Vevo is 10 years old this year. The music-videos firm has published a few new stats to celebrate the performance of the 400k-plus videos in its catalogue.
Vevo says that its catalogue is currently averaging more than 800m views a day, rising to near-1bn on the weekends. It also says that it has seen a 300% growth in daily views over the past five years.
That period, of course, includes the moment in May 2018 when Vevo decided to ‘phase out’ its owned-and-operated services – its website and mobile app – in favour of working purely through distribution partners. YouTube remains the most prominent, but Vevo now also makes its catalogue available through Amazon, Apple, Roku, Sky, Virgin Media and Viewd.