After a song featuring the voices of Drake and The Weeknd, generated by AI, went viral on TikTok and was posted across streaming platforms, Universal Music made an open appeal to streaming platforms to remove AI-generated songs, and to stop allowing the bots to train on their catalogues.
The battle for consumer attention is more competitive than ever in today’s saturated entertainment economy. Free time is saturated, and ever more competitive propositions are constantly bringing in new features, new content, and new ideas for audiences to engage with and enjoy.
Digital entertainment has seen a boom in content production, with more songs, TV shows, and games released at a faster rate than ever to compete for audience’s attention. However, audiences have no available time left over to spend on entertainment, and the cost-of-living crisis is affecting their available spend as well.
Music marketing has thrived in the world of TikTok, but it is about much more than just generating awareness now. Sam Smith and Kim Petras’ recent release, ‘Unholy’, illustrates a successful execution of a marketing campaign done with lean-throughengagement in mind.
Digital-first entertainment has changed the way that genres and creativity, can emerge and thrive in music and beyond. Independent creators are empowered by powerful recommendation algorithms to find their core bases of superfans; meanwhile, labelsstill can push select superstars to the forefront of cultural consciousness.
The advent of social interactions over digital may seem like old news now, but they have their not-so-distant origins in web 1.0 pioneer AOL and web 2.0 innovator Myspace. Early platforms mimicked and enabled ‘in real life’ personal relationships, from direct messaging to a personalised page acting like a digital decorated locker.
With lean-through behaviour growing ever more central to fandom, it is natural for marketing and strategy teams to look for trends in this sort of behavoiur in order to identify sentiment and fandom groups. This can take the form of tracking anything from likes on official posts, to hashtags, viral posts and videos, memes, newspaper articles, and p...
Consumers are growing ever-more accustomed to engaging in lean-through, creative behaviours. Thus, advertising designed for passive consumption struggles to compete with the entertainment content they are choosing to engage with through on-demand. Marketing teams must come up with creative solutions to meet consumers where they are, appealing to th...
Launched in April as the flagship creation of media company Yuga Labs, BAYC is a collection of ten thousand cartoon ape NFTs, priced at 0.08 ETH apiece. The collection has generated more than $1 billion to date and counts many celebrities, like Snoop Dogg and Jimmy Fallon, among its community of owners.
As the incumbent social networks grow ever more complex, vying to compete for weekly active use and engagement metrics, they leave behind their original driving use cases. The most successful have been simple: Facebook was ‘who am I? What my friends are doing?’.
Sounds is the BBC’s successor audio app to iPlayer Radio, combining live radio, on-demand programmes, music, and podcasts. Although it faced some resistance to the app initially – predominately from older audiences fearful of change – Sounds has quickly become the best performing broadcaster audio app across the markets that MIDiA tracks.
