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- 🇬🇧GB · Music Interviews#6330K to 100K
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52K to 169K🎙 Daily cadence·204 episodes·Last published 2w ago - Monthly Reach
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95K to 310K
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On the show
Recent episodes
Running an indie label for 30 years – Hospital Records founder Chris Goss on three decades as a cutting-edge drum 'n' bass label
May 1, 2026
Unknown duration
Creators’ needs today: how Sacem is adapting to new modes of creation
Apr 23, 2026
Unknown duration
The Price of Music: Radiohead's secret bunker; the Kanye/Wireless fallout; and how is the world's oldest record shop preparing for Record Store Day 2026? We chat to owner Ashli Todd to find out...
Apr 16, 2026
Unknown duration
Rebuilding the collective: how CMOs are scaling globally, collaborating across industries, and rethinking the creator relationship – Part 1: The Global Rights Engine
Apr 9, 2026
Unknown duration
AI & music streaming in 2026: it's crunch time for creators
Apr 1, 2026
Unknown duration
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| Date | Episode | Description | Length | ||||||
|---|---|---|---|---|---|---|---|---|---|
| 5/1/26 | Running an indie label for 30 years – Hospital Records founder Chris Goss on three decades as a cutting-edge drum 'n' bass label | Ep. 182: 30 years of running an indie record label is a monumental milestone. We speak to Chris Goss about exactly that – three decades after he co-founded the highly influential jungle / drum and bass label Hospital Records. Chris has lots to say about the "blood, sweat, and tears" required to stay independent for three decades; modern A&R and how Hospital balances a classic "gut feeling" with data; why drum n bass is currently enjoying its most prolonged "hot streak" in history; and the future of the label.Founded in West London in 1996 by Chris Goss and Tony Colman, Hospital didn't start with an aggressive business plan. Today, Hospital stands as - possibly - the largest independent drum n bass label in the world. Hospital records: https://hospitalrecords.com/High Contrast: https://www.youtube.com/watch?v=XoSscshAG-4------👋 The Knowledge, Music Ally’s free weekly newsletter: musically.lnk.to/knowledgepo🎉 You may be eligible for a FREE Music Ally subscription, worth over £450/year, via our corporate and sponsored subscriptions. If you work for a DSP, a major label, an indie label, or if you’re an artist manager, an employee of a CMO or a publisher, check here to see if you’re eligible: musically.com/subscription-optionsⓂ️ Subscribe to Music Ally's industry-leading analysis, reporting and news: musically.com/subscribeInstagram: https://www.instagram.com/musicallybizX/Twitter: https://twitter.com/musicallyFacebook: https://www.facebook.com/musicallyfb | — | ||||||
| 4/23/26 | Creators’ needs today: how Sacem is adapting to new modes of creation | Ep. 181: This is the second episode in a two-part series about the evolution of CMOs – recorded as collective management organisations undergo their most significant transformation in decades. In this episode, Sacem’s Director of International, Caroline Champarnaud chats with Julien Dumon, its Director of Digital. They explain how the global infrastructure only works if it ultimately serves creators –whose needs are evolving just as fast as the systems built to support them.They go on to explain how Sacem is redefining its services, tools and philosophy to support modern creators – from digital-native artists to global collaborators – while maintaining fairness, transparency and trust.SACEM: Society of Authors, Composers and Publishers of Music=========Series recap:In the first episode in the series, David El Sayegh, Deputy CEO of Sacem, discussed how the organisation is defining the future of copyright.In the second episode, we were joined by Julien Lefebvre, the Head of Innovation and Sacem Lab, to talk about its startup partnerships, and the strategic decision to open up certain proprietary technologies to all creators.In the third episode, we spoke to Caroline and Julien about how CMOs are evolving into interconnected, global infrastructure players: the challenges of global metadata, why international partnerships with organisations like ASCAP and GEMA are more vital than ever, and how Sacem is scaling its systems to match the explosive growth of music streaming in emerging markets.=======This is a Music Ally Co-Labs podcast: musically.com/music-ally-co-labs. Co-Labs content is created by publishing partners in liaison with the Music Ally Editorial Team. We work closely with partners to ensure that it adheres to Music Ally's high expectations of quality, thoughtfulness, and usefulness. | — | ||||||
| 4/16/26 |  The Price of Music: Radiohead's secret bunker; the Kanye/Wireless fallout; and how is the world's oldest record shop preparing for Record Store Day 2026? We chat to owner Ashli Todd to find out... | Here's a taste of our other podcast, The Price Of Music, presented by Steve Lamacq and Stuart Dredge – it's your easy weekly guide to the music biz and how it all works, Like what you hear? Subscribe to TPOM now! https://MusicAlly.lnk.to/TPOMThis week, there's a change to our normal schedule – with a whistlestop tour around the news and then a very special interview with Ashli Todd, owner of the legendary Spillers Records, the world's oldest record shop (founded in 1894, fact fans!)Ashli takes time out from filing vinyl to chat to us about Record Store Day 2026, which is taking place on Saturday 18th April. She also talks about the logistical hurdles of running a record store today. She also gives an authoritative answer on whether PJ Harvey should be filed under 'P' or 'H'!Become a Superfan of the podcast for free – and enjoy the exclusive weekly Lock-in bonus section! In this episode...The Ye/Wireless fallout: what are the financial and contractual "cleaning up exercises" facing Festival Republic after headliner Ye (AKA Kanye West) was denied UK entry – resulting in the entire festival's cancellation?Radiohead’s Coachella Bunker: the band's new "audiovisual installation" is located in a literal bunker beneath the Coachella festival (and if you visit, they put stickers over your phone cameras)A billion-dollar milestone: Latin American music has topped $1 billion in US label revenue for the first time - but which artists have driven this?Then, Ashli Todd, owner of Spillers Records, joins the show to chat about Record Store Day! (Our extra-special Patreon Superfans get the full, unedited interview... including some hearty debate about Simply Red!)RSD reality check: Ashli reveal what it's like to run a record shop during Record Store Day – including the high-stakes gamble of ordering for the big day.Ashli explains how shops cannot return any unsold Record Store Day stock: so if a shop is left with too many unsold titles, it can negate the entire profit margin for the event. CDs are... back: Ashli sees teenagers gravitating toward them as a "retro" and affordable alternative to increasingly expensive vinyl.How sales of popular albums can "fall off a cliff" simply because it’s impossible to reorder from the warehouse, due to labels' unwillingness to sit on large quantities of stock.The Jools Holland Effect vs. the TikTok Effect: While the Jools Holland effect on sales has waned, TikTok now has a tangible impact on what (especially younger) customers ask for.We finally settle the argument: does PJ Harvey belong under 'P' or 'H'? A bonus filing complication: Record Store Day filing rules follow the official list order, which is alphabetical by first name. (We're still not 100% clear how this effects PJ Harvey, though.)(If you'd like to know more about the history of Spillers, this interview with Ashli is well worth a read: https://www.walesonline.co.uk/news/wales-news/story-uks-oldest-record-shop-15805068)===================================As ever, we welcome your feedback, emails and – in particular – any questions you might have about how the music biz works!Email us: thepriceofmusicpodcast@gmail.comSee you next week!Steve and Stuart======TPOM online: http://tpom.uk/Support The Price of Music on Patreon:https://www.patreon.com/ThePriceofMusicFollow Steve on X - @steve_lamacqFollow Stuart on X - @stuartdredgeFollow The Price of Music on X - @PriceofMusicpodFor sponsorship opportunities, please email - joe@musically.com | — | ||||||
| 4/9/26 | Rebuilding the collective: how CMOs are scaling globally, collaborating across industries, and rethinking the creator relationship – Part 1: The Global Rights Engine | Ep. 180: Music consumption today is borderless, but the systems that manage it have historically been national. Now, collective management organisations are undergoing their most significant transformation in decades. On one hand, they are becoming global infrastructure players, scaling systems, data and partnerships to match worldwide music consumption. On the other, they are redefining their relationship with creators whose ways of making, monetising and collaborating are changing just as rapidly.We're joined by Caroline Champarnaud, Sacem's Director of International, and Julien Dumon, Director of Digital. They talk about how CMOs are evolving into interconnected, global infrastructure players. We explore the challenges of global metadata, why international partnerships with organisations like ASCAP and GEMA are more vital than ever, and how Sacem is scaling its systems to match the explosive growth of music streaming in emerging markets.SACEM: Society of Authors, Composers and Publishers of MusicThis is the third in a special series of Music Ally Focus made in collaboration with Sacem, exploring the evolution of collective management in the modern music industry – looking at technology, policy, copyright and more. In the next episode, we’ll discuss the evolution of CMOs further, and how the global infrastructure only works if it ultimately serves creators, whose needs are evolving just as fast as the systems built to support them.=========In the first episode in the series, David El Sayegh, Deputy CEO of Sacem, discussed how the organisation is defining the future of copyright.In the second episode, we were joined by Julien Lefebvre, the Head of Innovation and Sacem Lab, to talk about its startup partnerships, and the strategic decision to open up certain proprietary technologies to all creators.=======This is a Music Ally Co-Labs podcast: musically.com/music-ally-co-labs. Co-Labs content is created by publishing partners in liaison with the Music Ally Editorial Team. We work closely with partners to ensure that it adheres to Music Ally's high expectations of quality, thoughtfulness, and usefulness. | — | ||||||
| 4/1/26 | AI & music streaming in 2026: it's crunch time for creators | Ep. 179: It's a Very Special Episode of Music Ally’s Focus podcast in which Stuart Dredge and Joe Sparrow can roll up their sleeves and look at the impact that AI is having on streaming in 2026 – and there’s a whole lot of nuance, what-if’s, and context to rummage around in.It's all connected to Music Ally's latest Insight Report (available to Music Ally Subscribers here: https://musically.com/category/reports) – and that report focuses on 5 “C”’s of AI and streaming. Stu and Joe picked two of the biggest: Crunch Time, and Creativity:Crunch Time: AI and the music industry are finally at a true inflection point where decisions need to be made and lines need to be drawn. So where’s that line: how much of a song can be AI-generated before it’s classed as “AI music” – or is there a dawning reality that this is not even a distinction that can be made any more?Creativity: If it’s not realistic to divide songs into “AI” and “not AI” piles, should we instead not be asking “is AI truly creative?”, but “how will people be truly creative when using AI?” And is the pie being grown when a poet adds their words to an AI-generated song, or a teenage producer samples AI-music they generate?It’s a spirited, feisty and opinionated conversation (i.e. Stu and Joe agreeably disagreed a little bit) – and it’ll help you to get up to speed with two of the key issues that we’ll all deal with in some way or another this year. | — | ||||||
| 3/24/26 | The Open Innovation CMO: Sacem Lab, New Tech, and Creator Tools – with Julien Lefebvre, Head of Innovation and SACEM Lab | Ep. 178: Collective management is no longer just about collecting royalties; it's about innovating infrastructure and offering direct services. So we're joined by Julien Lefebvre, the Head of Innovation and Sacem Lab, to talk about the Lab project, its startup partnerships, and the strategic decision to open up certain proprietary technologies (including blockchain applications) to all creators, redefining the role of a CMO as a global tech enabler.He discusses: balancing Sacem's priorities with the current volatile music ecosystem; the Musicstart service, where anyone –Sacem members or not – can use their tool to secure permanent "proof of creation" of their music; how the organisation is collaborating with fellow CMOs like GEMA and ASCAP; and how the music-tech startup landscape is moving away from "hype" tech.Read more here: SACEM, Society of Authors, Composers and Publishers of Music (https://presse.sacem.fr/?lang=en)This is the second in a special series of Music Ally Focus made in collaboration with Sacem, exploring the evolution of collective management in the modern music industry – looking at technology, policy, copyright and more. =========In the first episode in the series, David El Sayegh, Deputy CEO of Sacem, discussed how the organisation is defining the future of copyright.Over the next two episodes, we will continue to dive into how collective management is having to move with the times: exploring how one of the world’s leading CMOs is navigating a landscape redefined by artificial intelligence, global scaling, and the changing needs of modern creators.=======This is a Music Ally Co-Labs podcast: musically.com/music-ally-co-labs. Co-Labs content is created by publishing partners in liaison with the Music Ally Editorial Team. We work closely with partners to ensure that it adheres to Music Ally's high expectations of quality, thoughtfulness, and usefulness. | — | ||||||
| 3/10/26 | AI and Sacem: defining the future of music copyright – with David El Sayegh, Deputy CEO of Sacem | Ep. 177: Generative AI, copyright, and collection. Welcome to a special Music Ally Focus podcast series made in collaboration with Sacem, exploring the evolution of collective management in the modern music industry – looking at technology, policy, copyright and more. In the first episode: Generative AI is no longer a future concept – it is a fundamental tool in today's creative process. But as the amount of AI-generated content increases, so do the complexities of music rights – and the number of questions that songwriters, artists and rightsholders have. So we spoke to David El Sayegh, Deputy CEO of collecting society Sacem, to discuss how the organisation is defining the future of copyright. We explored Sacem’s strategic approach to the AI revolution, from building a shared understanding of policy to the practical technologies being tested in the Sacem Lab, to protect human creativity and ensure fair revenue exists in this new landscape. And, we ask El Sayegh: if we are in the middle of a huge shift in AI-driven music creation and consumption, what are the revenue opportunities – and financial risks – for creators and CMOs stemming from this?It's a broad and deep discussion from the top: he also discussed Sacem's official stance on AI training models, how they are protecting the notion of human creativity – and the new technologies being developed to ensure creators are fairly compensated in an AI-driven world. Explore more: https://flyer.sacemenligne.fr/IA/EN/index.html=========Over the next three episodes, we continue to dive into how collective management is having to move with the times: exploring how one of the world’s leading CMOs is navigating a landscape redefined by artificial intelligence, global scaling, and the changing needs of modern creators.=======This is a Music Ally Co-Labs podcast: musically.com/music-ally-co-labs. Co-Labs content is created by publishing partners in liaison with the Music Ally Editorial Team. We work closely with partners to ensure that it adheres to Music Ally's high expectations of quality, thoughtfulness, and usefulness. | — | ||||||
| 2/10/26 | How artist payouts work in 2026: millions of micro-royalties in hundreds of countries – we speak with Tipalti | Ep. 176: In 2026, labels, artists, musicians and creators are all working differently: generating millions of micro-royalties every month across global campaigns that involve multiple of partners across dozens of countries. Getting your music out there is easier than ever, but processing that increased volume of payouts becomes more complex – and we all have an expectation to get paid fast, and see what’s going on and what we’re owed at any given time. So to find out what’s happening at the point where all those payment pipes meet, in this latest episode of Music Ally Focus, we partnered with a fintech company that processes tens of billions of payments each year – Tipalti, which works closely with labels like Ninja Tune to pay their artists what they’re owed. We chatted to Tipalti’s Travis Hughson about what labels need in 2026, what artists want when it comes to payments, and how to maintain trust and transparency to keep all parties happy.Some more Tipalti resources for the music business:Automated Royalty Payouts to Nurture ArtistsNinja Tune Enhances Artist Satisfaction and Cuts Payouts Processing Time by 50% With Tipalti Mass PaymentsFast, Secure Global Payments AnywhereRoyalty Rate Explained: How to Determine Your Royalties========This is a Music Ally Co-Labs podcast: musically.com/music-ally-co-labs. Co-Labs content is created by publishing partners in liaison with the Music Ally Editorial Team. We work closely with partners to ensure that it adheres to Music Ally's high expectations of quality, thoughtfulness, and usefulness. | — | ||||||
| 2/2/26 | The future of record labels – with Midia's Mark Mulligan | Ep. 175: Mark Mulligan of MIDiA Research joins us to talk about labels in 2026. It's jam-packed with great advice for labels of all sizes and ambitions, including:The value shift between labels and streaming platforms in terms of the 'ownership' of the music consumerHow labels should "specialise" - and what that means for the labels who try to do it allHe advocates for labels to 'nurture' artists with long-term artist development. He explains why – and how a label boss might need to justify a three-year slow-burn strategy when they're under so much pressure to deliver nowWhat revenue streams or opportunities might labels be labels ignoring because they're too focused on protecting the streaming status quo?There's also a fairly unexpected chat about Nu-Metal, Limp Bizkit, and UK Garage.Midia report: The future of labels – https://www.midiaresearch.com/reports/the-future-of-labels-shifting-sandsRide - Vapour Trail – https://www.youtube.com/watch?v=pVhNi5cU8mo------👋 The Knowledge, Music Ally’s free weekly newsletter: musically.lnk.to/knowledgepo🎉 You may be eligible for a FREE Music Ally subscription, worth over £450/year, via our corporate and sponsored subscriptions. If you work for a DSP, a major label, an indie label, or if you’re an artist manager, an employee of a CMO or a publisher, check here to see if you’re eligible: musically.com/subscription-optionsⓂ️ Subscribe to Music Ally's industry-leading analysis, reporting and news: musically.com/subscribeInstagram: https://www.instagram.com/musicallybizX/Twitter: https://twitter.com/musicallyFacebook: https://www.facebook.com/musicallyfb | — | ||||||
| 1/15/26 | What will the music marketing trends of 2026 be? Post-authenticity, clipping content, fun for fans – and much more, explains Something Something's Liam James Ward | Ep. 174: What's going to give you or your artist cut-through in 2026? At the start of last year we published one of our most popular podcasts of the year: when we asked Liam James Ward, CEO/co-founder of content strategy studio Something Something to look ahead into 2025’s upcoming marketing trends. Never let it be said that Music Ally Focus likes anything more than pushing against an open door, so when we had the opportunity to get Liam back on the show, we said yes. (It was a timely recording too, as Something Something were recently named Agency of the Year in Music Ally’s 2025 Music Marketing Awards.)Thus in this special episode of Music Ally Focus we’ll look beyond the bland and get clarity on the key changes and surprising developments in digital and social music marketing that emerged last year and what you can do in 2026, whether you’re a big budget high-flyer or a scrappy and ambitious DIY-er. Liam also digs into fan accounts, the atomisation of content, and crafting fun and sticky videos that stretch the idea of authenticity into exciting new places. We’ll talk about clipping, communities and crafting constellations of content, and we’ll talk about how marketers already instinctively know what strategy they should take for their artist and that artist’s audience.Something Something: https://www.somethingsomething.social/Contact Liam: hello@somethingsomething.social Music Ally Campaigns of the Year: https://musically.com/best-music-marketing-campaigns-of-the-year/ | — | ||||||
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| 12/11/25 | Genius steals: this month's best new music marketing campaigns with Marlen Hüllbrock – including Lily Allen's b*tt plug USB, Sleep Token's colouring book, The Kinks' tea, and lots more... | Ep 173: We're refreshing Focus (or should that be re-Focusing?) for our many music marketing listeners – we'll now be publishing regular episodes that spotlights recent excellent music marketing work. We're calling it "Genius Steals", so get ready to be inspired as regular host Joe Sparrow asks the stupid questions to Music Ally's marketing expert Marlen Hüllbrock.She'll explain why a bunch of great campaigns caught her eye recently, including a Lily Allen USB stick that you might get behind, Sleep Token's colouring book, The Kinks' tea, and lots more. Also: is Marlen smug about her Spotify Wrapped Age? (Yes, she is.)It's ideal for anyone who wants to get up to speed quickly and be inspired by* good recent marketing ideas.=====Music Ally's team is constantly on the lookout for the latest and greatest music marketing campaigns. download - for free! - our huge Campaigns of the Year report for 2025 here: https://musically.com/best-music-marketing-campaigns-of-the-yearAnd dig into all our marketers' resources right here: https://musically.com/marketing-insight=======Here's a load of links to all the stuff Marlen mentioned:Lily Allen (https://www.instagram.com/p/DRzjmtIjOGF/?igsh=dGttbWc0bTdpYnRl)• Lily Allen (https://lilyallen.tmstor.es/product/west-end-girl-usb-nrd)• Fred again.. (https://www.reddit.com/r/fredagain/comments/1pdi19n/usb_necklace/)• TOMORA (https://www.instagram.com/tomora)• TOMORA (https://soundcloud.com/tomoraofficial/ring-the-alarm?si=6d087a14f2ca44bf9ef224a0fb000418&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing)• Sofi Merone (https://www.instagram.com/reel/DRzsZJYDZc1/?igsh=YTR2eGg0MW1zNmkx)• Sofi Merone (https://www.instagram.com/reel/DR78m79jdJV/?igsh=dGF4YjkwYzA1eHcy)• SAILORR (https://www.instagram.com/p/DR5k_JMASWs/?igsh=dW4waWV4eWxkc2R1)• The Kinks (https://thekinkstea.com/?srsltid=AfmBOopokPr8qjspz3-4VY96ARYCj5VpGMKLREN4_TeWaPYV2rW7k4Hg)• berlioz (https://krankbrother.seetickets.com/event/berlioz-presents-deep-in-it/finsbury-park/3560930?pre=pre&utm_source=substack&utm_medium=email)• JADE (https://www.reddit.com/r/popheads/comments/1peg1x8/jade_thats_showbiz_baby_the_encore/)• Sleep Token (https://www.billboard.com/music/music-news/sleep-token-coloring-book-even-in-arcadia-album-1236130093/)• Eli (https://vm.tiktok.com/ZNRLC713Y/)• Eli (https://vm.tiktok.com/ZNRLXJBuq/)• Eli (https://vm.tiktok.com/ZNRLXNhNQ/)• Gunna (https://www.instagram.com/p/DR2nl-eEZcC/?igsh=MTU4Yzk3M2kwcWp0ag==)• Katseye (https://www.instagram.com/p/DRiQpMvDyS8/?igsh=MW00dHQ4eWE3YXJoNQ%3D%3D)*genius steals, remember | — | ||||||
| 10/23/25 | What are the music-tech trends in 2025 – and where is it going next? Music Ally's Stuart Dredge and Joe Sparrow talk AI (of course), tools that empower artists, direct-to-fan and more! | Ep 172: Taking the pulse of music-tech in 2025. We asked Music Ally’s head of insight, Stuart Dredge, to chat to our managing editor Joe Sparrow about the state of music-tech – and they talk in depth about AI doing your admin, the proliferation of tools designed to empower artists, direct-to-fan monetisation tech, and more!This podcast connects to Music Ally's latest Insight Report on music-tech in 2025 (https://musically.com/category/reports). This year is the third “Year Of AI” in a row, by our reckoning. So how will people in the industry actually use AI – and in mundane ways? How much can be automated and when do humans need to step into the decision-making process? And if you automate away the mundane tasks, where do entrants in the industry start? | — | ||||||
| 10/16/25 | Using Aiode's ethically-trained AI as a virtual songwriting collaborator – and the future integration of AI in the music creation process, with Aiode co-founder Idan Dobrecki | Ep. 171: We speak to Idan Dobrecki, the co-founder of Aiode, an AI music-making platform that emphasises two key features: its ethically-trained system that shares earnings with the musicians whose music is used, and its “virtual collaborator” approach. Idan compares the latter to having a talented musician “riding shotgun”, and music producers can call on the skills of the virtual (real) musicians to augment their songs.If you’re wondering how that works from a music production perspective, you can hear it working in real time in this episode. Idan also chats to Music Ally Editor Joe Sparrow – in this episode made in collaboration with Aiode – about the future integration of AI with the music industry as a whole, and to music production in particular; the ethical use of music training data, and how doing it ethically “makes better business sense”; and how sharing money with rightsholders makes for a better product. Aiode: https://aiode.comMusic Ally Co-Labs: musically.com/music-ally-co-labs | — | ||||||
| 10/7/25 |  The Price of Music: Music Ally's *other* podcast – with Steve Lamacq and Stuart Dredge | A quick bonus episode for you all, in case you have missed our new, other podcast, The Price of Music, your weekly guide to the music biz and how it all works. (You can follow it here on your platform of choice: Spotify / Apple / YouTube / other)In the most recent episode, presenters Steve Lamacq ands Stuart Dredge get stuck into...Listener Richard had a great question about music journalism – and Steve has a lot to say when answering: what’s changed about music journalism, whether music journalism is still important, where the music print media has gone, and what the future of music writing holds.(Plus - does Steve get paid when his 1991 “Nevermind” NME review is re-printed today?)Stu’s Big Number is 75 million – and they are “spam tracks” that Spotify has removed from its service in the last year alone. But what on earth is a spam song anyway?What extra information do artists need to attach to their songs when they upload music? Spotify has new rules around AI music – so what’s banned, and what’s not banned?TikTok is apparently about to be sold in the US (maybe) – but why is TikTok so important to the music industry?Why are old Billie Eilish and Rihanna songs re-emerging to huge popularity?The Great Record Shop Album Filing Debate rumbles on – where would you file Elton John – “E” or “J”? And if you like this podcast you can join Steve and Stu in the special post-show lock-in section just for our Patreon Superfans. | — | ||||||
| 8/18/25 | Ignore aiming for viral success, avoid accepted strategies, try "random acts of kindness", and other expert advice: How to market your artist in 2025 | Ep. 170: We bring you a bumper episode of Music Ally Focus, with four true domain experts, all sharing their advice, insight and strategies for you to use. (UPDATE: we fixed a surprising number of audio glitches!)Music marketing is in a transitional era where traditional funnel marketing rubs up against wallet-draining superfan campaigns – and the desire to create deep, narrow direct-to-fan communities that will support an artist forever.So... what's the right path? It's about building a community of people who are thrilled to be part of a fanbase, and who love spending time with each other. But this kind of fanbase might not generate those giant social media or streaming numbers that labels love. So what needs to change? It's a combination of hard work, daring to look past old behaviours, and "random acts of kindness", our experts say. Our springboard was this article that guest Simon Scott wrote about music discovery and fan commitment: https://musically.com/2025/07/10/how-music-discovery-and-fan-commitment-are-inextricably-linked/Guests are, in A-Z order:Aaron Bogucki – founder of direct-to-fan services company Big Cookie Keziah Reed – Digital Marketing Manager, Artist Services, UK, at BelieveRobyn Elton – Head of Artist Strategy (Audience) at agency BlackstarSimon Scott – Founder & CEO of fan engagement technology company Push entertainment | — | ||||||
| 6/13/25 | 2025's global music business trends – with Stuart Dredge, Music Ally's head of insight | Episode 169: This podcast is aligned with Music Ally’s newest International Focus report, which pulls together the last year’s worth of Country Profiles which we publish, plus some extra exclusive analysis. So, we’re joined by Stuart Dredge, Music Ally’s head of insight, to discuss some of the burning topics when we look at the international music market right now in summer 2025.Stu talks to Joe Sparrow about:- The new dominance of local talent and genres in markets around the globe.- What are the current export trends, especially for local music which are increasingly reaching global audiences. And what about English-language acts in this newly-polyglot paradigm?- Collaboration as a strategy - now seen as a standard strategy in gaining momentum and reaching wider audiences. But will we reach saturation point with all these feats – or is there still miles to go?Music Ally's Reports - including this newest one – are available here: https://musically.com/category/reports And if you’ve not looked at the Country Profiles for a while, we’ve recently doubled the size of them to include lots of vital, on-the-ground marketing and audience insight – so that you, our premium subscribers can get the latest info from leading industry figures in each market. https://musically.com/countries | — | ||||||
| 5/30/25 | Breaking your music business or artist into new desirable global markets – Symphonic's CEO talks about how they connected successfully with South America and SE Asia | Ep. 168: we speak to Jorge Brea, CEO of Symphonic Distribution, and Guji Lorenzana, Symphonic's Territory Manager, Asia, to talk about successful strategies for international expansion. We talk about:* What has worked well so far in their expansion into Latin America and Asia – and what didn’t go as planned?* When you're entering a new market what are the very first steps you take? What are the absolute essentials for making it work?* What are the key local insights they've uncovered that outsiders tend to miss?* How do you evaluate and build label/distributor partnerships in new markets? What does a good partner look like?* How do you manage the tension between “global consistency” and “local relevance”?* What are mistakes companies or artists make when they try to expand internationally?* If you’re a small-to-mid-level label or manager looking to grow in another country... what is the first move they'd recommend?* What one move should artists or companies make this year if they’re serious about international growth?Symphonic: https://symphonic.com/ | — | ||||||
| 4/9/25 | beatBread CEO Peter Sinclair on getting more options, insight and choices in music funding | Ep. 167: We speak to beatBread CEO Peter Sinclair – on getting more options, insight and choices in music funding, and how independent artists, labels and songwriters are getting better deals while retaining ownership of their music using beatBread’s game changing deal comparison tool. Peter chats to Music Ally Editor Joe Sparrow in this episode of MA focus, in collaboration with Beatbread.Website: https://www.beatbread.com/Deal Comparison Tool: https://www.beatbread.com/compareMusic Ally Co-Labs: musically.com/music-ally-co-labs | — | ||||||
| 3/27/25 | Music Streaming in 2025 – what's the value of music today; and what do superfans want? | Ep. 166: Music Ally’s Head of Insight, Stuart Dredge joins Joe Sparrow to discuss two of the most meaningful topics relating to music streaming today: the value of music on DSPs; and the big DSPs' upcoming superfan plans.This podcast connects to Music Ally's latest Insight Report called the State of Streaming in 2025 (https://musically.com/category/reports). In this podcast we discuss:The value of music on DSPs – not just the ongoing subscription price rises, but the ad-supported tiers, and the increasingly loud grumbles around them.The big DSPs' superfan plans – superfans need to be super-served: so will the streaming platforms give fans and artists what they really, really want? | — | ||||||
| 2/26/25 | Getting tomorrow's music income today – looking back on a decade of music financing with Sound Royalties' CEO and founder Alex Heiche | Artists, songwriters and music rightsholders can now free up capital using their music in so many ways, and the old days of simply seeking advances from labels or publishers are long-gone. Sound Royalties provides a way to access tomorrow's music income today: over a decade ago the company pioneered a funding model they call “creative-friendly music finance”, where the company fronts money to artists and rightsholders based on future earnings from streaming – and other sources. Those artists or rightsholders can then use that money to further develop their careers, and then even return to Sound Royalties for more capital – at a new valuation that reflects their newly-developed success.In this Music Ally Focus episode, made in collaboration with Sound Royalties, Music Ally's Joe Sparrow met with CEO and founder Alex Heiche in London –and spoke about what he’s learned from ten years of offering new funding solutions, the new income streams that the company is offering advances for, and what future developments he sees in a world where capital is routinely raised in this way.Sound Royalties: https://soundroyalties.comMusic Ally Co-Labs: musically.com/music-ally-co-labs | — | ||||||
| 1/14/25 | How music marketing will change in 2025 – with Liam James Ward of Something Something | Ep. 164: Music marketing is always changing - and yet the fundamentals stay the same. So what's going to change in 2025 – and how can you change your strategy to make sure you keep cutting through? Liam James Ward is CEO/co-founder of social/digital music marketing agency Something Something, and he joins Music Ally's Joe Sparrow to look ahead. And it's not just a bunch of hand-waving predictions – Liam digs into shifts he sees coming around some fundamental concepts: What does and doesn't work today and how to think about marketing ROI How the "vibe marketing" we saw in 2024 was perhaps an attempt to get feeling and curatorship back to the core of the fan experience How truly-useful online fan communities are actually about medium-term nurturing instead of trying to leap all the way down the funnel from virality to superfandom How niche tastemakers are back and more powerful than before (and why you should partner with them) How fans are seeking the feeling of being genuinely connected to friends and fellow fans on social media ... and there's a lot more in this Music Ally Focus episode, made in collaboration with Something Something Liam also talks about the tech and platforms he sees increasing – and decreasing – in influence, and the kind of "big artist" strategies that anyone, regardless of size or fanbase, can use. Something Something: somethingsomething.social Guns N' Roses – Appetite For Destruction: youtube.com/playlist?list=OLAK5uy_n13hmdsIozcCRyaY4cRDuuviphpfbzPrw&si=rbiGgZpb71x-8Rcs Music Ally Co-Labs: musically.com/music-ally-co-labs | — | ||||||
| 11/8/24 | Retraining for new roles in the music industry – with Music Ally COO Patrick Ross | Ep. 163: The jobs market in the music industry is changing fast: it's not just artists who are decoupling from the traditional industry businesses, it's the industry workers too. Not only have various major players laid off significant percentages of their workforce, but some artists and teams are seeking smaller, nimbler companies to do niche tasks. So we got Music Ally COO Patrick Ross on the show to chat about what this means for people: how to up-skill, re-train and branch out; how to recognise the opportunities this brings. Spoiler: now is a better time than ever to learn new abilities and make them into a creative career. ------ 👋 The Knowledge, Music Ally’s free weekly newsletter: musically.lnk.to/knowledgepo 👉 FREE Amazon Music for Artists courses & certification: https://learn.musically.com/courses/amazon-music-for-artists/ 🎉 You may be eligible for a FREE Music Ally subscription, worth over £450/year, via our corporate and sponsored subscriptions. If you work for a DSP, a major label, an indie label, or if you’re an artist manager, an employee of a CMO or a publisher, check here to see if you’re eligible: musically.com/subscription-options Ⓜ️ Subscribe to Music Ally's industry-leading analysis, reporting and news: musically.com/subscribe Instagram: https://www.instagram.com/musicallybiz Twitter: https://twitter.com/musically Facebook: https://www.facebook.com/musicallyfb | — | ||||||
| 10/10/24 | Music-tech today and tomorrow: Stuart Dredge gets past the hype, gets to grips with Music AI, and gets excited about music fintech, music ecotech, and music healthtech | Ep. 162: It's always a Very Special Episode when Music Ally's Head of Insight, Stuart Dredge, joins the Focus podcast, and lo, Stu chats to Joe Sparrow in depth about AI (of course!), music fintech, music ecotech, music healthcare tech and more! This episode is part of Music Ally's annual music-tech Insight Report, available to Music Ally subscribers. ------ 👋 The Knowledge, Music Ally’s free weekly newsletter: musically.lnk.to/knowledgepo 👉 FREE Amazon Music for Artists courses & certification: https://learn.musically.com/courses/amazon-music-for-artists/ 🎉 You may be eligible for a FREE Music Ally subscription, worth over £450/year, via our corporate and sponsored subscriptions. If you work for a DSP, a major label, an indie label, or if you’re an artist manager, an employee of a CMO or a publisher, check here to see if you’re eligible: musically.com/subscription-options Ⓜ️ Subscribe to Music Ally's industry-leading analysis, reporting and news: musically.com/subscribe Instagram: https://www.instagram.com/musicallybiz Twitter: https://twitter.com/musically Facebook: https://www.facebook.com/musicallyfb | — | ||||||
| 9/30/24 | Selling direct-to-fan and making money even when you're an emerging artist: Mag Rodriguez of D2C platform Even talks about the future of artist commerce | Ep. 161: Direct to Consumer is a model that most artists, of all sizes, are now prioritising. But which type of artist does this approach work – and not work – for? Mag Rodriguez, CEO/founder of D2C platform Even – which has the tagline "Buy The Art From The Artist" – talks to Music Ally's Editor Joe Sparrow about how artists can use this business model to generate money. He says that artists can make more money from a new release this way than on a streaming platform, sometimes even before that release reaches the DSP. Joe and Mag also talk about artists using fan data, how emerging artists with small fanbases can make D2C work, and how to treat superfans in a way that feels fair, while maximising income for artists and the experience for fans? Even: https://get.even.biz ------ 👋 The Knowledge, Music Ally’s free weekly newsletter: musically.lnk.to/knowledgepo 👉 FREE Amazon Music for Artists courses & certification: https://learn.musically.com/courses/amazon-music-for-artists/ 🎉 You may be eligible for a FREE Music Ally subscription, worth over £450/year, via our corporate and sponsored subscriptions. If you work for a DSP, a major label, an indie label, or if you’re an artist manager, an employee of a CMO or a publisher, check here to see if you’re eligible: musically.com/subscription-options Ⓜ️ Subscribe to Music Ally's industry-leading analysis, reporting and news: musically.com/subscribe Instagram: https://www.instagram.com/musicallybiz Twitter: https://twitter.com/musically Facebook: https://www.facebook.com/musicallyfb | — | ||||||
| 9/18/24 | Marketing Focus: Lainey Wilson, The Cardigans, and Peggy Gou's recent campaigns analysed | Ep. 160: A marketing-focused episode – Sarah Seukeran analyses three recent notable campaigns and activations from Lainey Wilson, The Cardigans, and Peggy Gou. Featured are campaigns that combine local weather data with music streaming, showcase a good way of getting catalogue to connect with The Kids on TikTok, and encourage fans to design localised merch. It's ideal if you're trying to find good ideas to try out in your own music campaigns! 1. Lainey Wilson: 2. The Cardigans: https://pro.musically.com/weekly-round-up-21-aug-2024/ 3. Peggy Gou: https://pro.musically.com/weekly-round-up-3/ ------ 👋 The Knowledge, Music Ally’s free weekly newsletter: musically.lnk.to/knowledgepo 👉 FREE Amazon Music for Artists courses & certification: https://learn.musically.com/courses/amazon-music-for-artists/ 🎉 You may be eligible for a FREE Music Ally subscription, worth over £400/year, via our corporate and sponsored subscriptions. If you work for a DSP, a major label, an indie label, or if you’re an artist manager, an employee of a CMO or a publisher, check here to see if you’re eligible: musically.com/subscription-options Ⓜ️ Subscribe to Music Ally's industry-leading analysis, reporting and news: musically.com/subscribe Instagram: https://www.instagram.com/musicallybiz Twitter: https://twitter.com/musically Facebook: https://www.facebook.com/musicallyfb | — | ||||||
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Chart Positions
17 placements across 16 markets.
Chart Positions
17 placements across 16 markets.