Blog: Drake

Over the past few years, MIDiA has often remarked at the lack of a “song of the summer” . There was once a singular undeniable hit each summer, one that everyone could agree on, like ‘One Dance’ was to 2016 or ‘Despacito’ to 2017.

On August 6th , with no prior announcement, Drake unloaded 100 gigabytes’ worth of content, including songs and video clips, to a personal website and directed fans there via his Instagram burner account.

Drake has had perhaps one of the most publicly up-and-down relationships with generative AI. There was the AI Drake music generator, which he was dead set against. Then there was ‘Heart on My Sleeve’, the AI-generated mix using the voices of Drake and The Weeknd by a creator known as ghostwriter, where Drake again expressed displeasure at the use of his voice.

Over the last week, it has been hard to go anywhere, or speak to anyone, without some mention of the epic diss track battle between Drake and Kendrick Lamar. When is the last time we could say that about a pop culture moment? The domination of Taylor Swift’s Eras Tour is arguably the only bit of music news in the last year that managed to cut across every niche and break into “mainstream” conversation.

What do AI Drake, adaptive music, and TikTok open-verse challenges have in common? All reflect a major shift of music consumption from a passive, static, and uni-directional experience to an active, dynamic, multi-directional one.

After two years of the Covid boom, the tide that buoyed tech and digital entertainment companies has begun to recede. The likes of Meta, Netflix, and even Apple and Alphabet have all seen stock dips, largely due to inflation and market uncertainty.

In her hit ‘Saoko’, Rosalía celebrates her multi-dimensionality, singing (translated from Spanish): “I contradict myself, I transform / I’m everything, I transform”. As artists navigate the world of AI-generated music, her words might become a mantra.

Every new technology goes through a period of being overhyped before the dust settles, and that technology either fades or builds steadily thereafter. Think 3D printing, VR, NFTs. In my 20+ years as a media and tech analyst, only three technologies have had a level of hype that felt like it was going to live up to expectations: 1) the internet (which was already in full swing by the time I started out – I’m not that old); 2) smartphones / apps; and 3) AI.

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.

Less than a week into the new decade and we already have the first indications that the streaming rulebook continues to be rewritten faster than the ink can dry on its last entry. Three separate articles, on the surface unrelated, when stitched together create the outline of a new streaming narrative that while firmly rooted in recent developments represents an entirely new chapter for the music industry: Ellie Goulding’s ‘River’ was the UK Christmas number one despite being an Amazon exclusive Jimmy Iovine claims Drake and Billie Eilish each have more streams than the entirety of the 1980s UK streaming revenue growth slowed, adding £191 million in 2019 compared to £210 million in 2019 Fusing consumption and retail Streaming’s impact is both commercial and cultural, in large part because it fuses what used to be retail and radio.

Decade retrospectives are almost doomed to fail. Assess the 60s in 1969 and you would have likely overweighed the influence of Grand Funk Railroad compared to The Velvet Underground. When it comes to the 70s, proto Hip-Hop pioneers such as Grandmaster Flash or the Post-Punk of Joy Division would have been a mere footnote in favour of David Naughton or Melissa Manchester.

Music Business Worldwide recently ran a story on how Apple has proposed a standard streaming rate for songwriters, with Google and Spotify apparently resistant. Of course, Apple can afford to run Apple Music at a loss and has a strategic imperative for making it more difficult for Spotify to be profitable, so do not assume that Apple’s intentions here are wholly altruistic.

The tipping point in the 2015 film The Big Short, based on Michael Lewis’s book on the 2008 financial crisis, is when it dawns on Steve Carrell’s character upon traveling down from New York City to Florida, that a plethora of unstable loans had been granted to people with very little prospects of paying them back.

I write this week’s blog conflicted between the music fan who grew up on the album and the MIDiA analyst looking at the numbers (an eternal struggle). Alongside the feature-length film, the LP was one of the definitive artistic mediums to emerge in the 20th century, but it was also bound to the same business framework of many enterprises of the period; factory-powered mass production methods with the product demand side stoked by television and radio.

Forbes has released its annual Celebrity 100, its list of the top earning media stars. The healthy share of music artists hints at the continued ability to build highly successful music careers. The presence of younger, streaming era artists like Drake and the Weeknd goes further, hinting at how streaming can now be the foundation for superstar commercial success.

Released over the weekend after much delay, Drake’s More Life project is setting records across the board on streaming platforms. The Canadian artist described More Life as ‘a body of work bridging the gap between major releases’ and positioned the release as neither a mixtape nor an album, but rather ‘a playlist’.

I recently took part in the True Music Forum in Madrid, an event organized by Boiler Room. I was on a panel that explored whether DIY is now coming of age with a host of high profile artists, most of them urban artists, bypassing or twisting the traditional label model and still achieving stand-out success.

The Tidal, Spotify and Apple Music exclusives Cold-War reveals something telling: from Drake, to Chance the Rapper, Frank Ocean and The Weeknd, the quest to garner exclusives has been done almost entirely with R&B, Hip-Hop and Dance artists, with minimal efforts to secure the same deals for Rock musicians.