Tatiana Cirisano

Tatiana is Vice President of Music Strategy at MIDiA. Prior to this, she served as a music business reporter for Billboard, where she wrote award-winning industry analysis as well as cover stories on artists like Tame Impala and Alicia Keys. Throughout her work she is dedicated to publishing fresh perspectives that drive the music industry forward, with an emphasis on fandom and consumer behaviour.

The future of marketing and A&R is all about scenes

Cover image for The future of marketing and A&R is all about scenes
Tatiana Cirisano
music industry
Music streaming
fragmented fandom
Today’s era of hyper-fragmentation raises all sorts of questions for the music industry, in particular marketing and A&R departments. In a landscape where it is harder than ever to have a mainstream impact, how do you drive culture? How do you break artists and build superstars? What will peak success for the next generation of artists even look like? The framework we need may have been here all along.
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What happens when content supersedes the creator?

Cover image for What happens when content supersedes the creator?
Tatiana Cirisano
Social media
creator tools
Creator economy
It is becoming increasingly clear that the future of the user interface looks like a TikTok feed. Companies from Meta to Spotify and Amazon have tested TikTok-like feeds that are focused on discovery, and even though Meta ended up rolling back some of its TikTok-inspired changes, its implementation of the format on Facebook and Instagram likely signals a wider shift to come.
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Music is not a level playing field — it is a field of all levels

Cover image for Music is not a level playing field — it is a field of all levels
Tatiana Cirisano
Music streaming
Music fandom
fragmented fandom
We have heard it (and said it) many times before: the music industry has never been as competitive as it is today. But the challenge is not just that today’s landscape is ultra-competitive, it is also that new artists chasing success are competing against artists who came up before the landscape became so fragmented , as well as the entire history of music — not just that which is new.
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Re-creating the creator economy

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Mark Mulligan, Tim Mulligan, Karol Severin, Hanna Kahlert, Srishti Das, Kriss Thakrar, Ashleigh Millar, Tatiana Cirisano, Annie Langston and Richard Broadhurst
Apple
Spotify
YouTube
Streaming first democratised the means of consumption, then distribution, and now production. Though the promise of the long tail may not have materialised quite as expected, long-tail and mid-tail creators are now a central component of the digital-entertainment economy.
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Beatport’s LabelRadar acquisition is the latest sign of the platforms era

Cover image for Beatport’s LabelRadar acquisition is the latest sign of the platforms era
Tatiana Cirisano
Beatport
Record labels
music industry
This week, online music marketplace Beatport acquired LabelRadar, a service that streamlines the demo submission process for artists and labels. Following previous strategic acquisitions, the deal represents another step in Beatport’s path towards becoming a creative hub for creators and labels alike (which, in dance music, can often be the same thing).
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Building a fan economy with Fan-Powered Royalties

Cover image for Building a fan economy with Fan-Powered Royalties
Kriss Thakrar, Tatiana Cirisano and Perry Gresham
Free Report
Creators
artist income
Streaming economics
Music streaming has helped the music industry return to growth over the past decade, but many creators feel left behind. The streaming economy has reached a point where the creator remuneration gap can no longer be ignored. It is no secret that many music artists are dissatisfied with the relationship between the consumption of their music on streaming platforms and the income they receive from it.
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