1. travel
2. tourist destinations
3. australia and new zealand

JANUARY 2014 | THEMUSICNETWORK.COM
INSIGHTS FROM:
CHUGG
GUDINSKI
DANIELS
HANDLIN
SCADDAN
COPPEL
ASH
PROUDLY INTRODUCING THE QUINTESSENTIAL
INTELLIGENT DESIGN
Connect to the business of music | TheMusicNetwork.com 1
THE HOTTEST TRACKS OF SUMMER
MKTO
God Only Knows
NATHANIEL
You’re Beautiful
MKTO’s 3rd hit single
‘God Only Knows’ is
featured on their debut
self titled album in
stores January 31 that
also features their two
smash hits ‘Thank You’
and ‘Classic’.
After taking Australia
by storm with his
debut double platinum
selling single YOU,
2014 brings his highly
anticipated new single
YOU’RE BEAUTIFUL.
AT RADIO 20/2
FOSTER
THE PEOPLE
Coming Of Age
Multi-platinum, Grammy
Award-winning global
pop singer/songwriter
Shakira is back with a
brand new uptempo pop
smash hit single ‘Can’t
Remember To Forget You’
featuring global pop star
Rihanna.
HIGH HOPES
KARMIN
I Want It All
Karmin return with the
follow up to their triple
platinum monster hit
‘Acapella’
MTV Buzzworthy calls
‘I Want It All’ “The Epic
Disco-Tinged Karmin
Jam You Never Saw
Coming”.
Foster The People are
back with their highly
anticipated new track
‘Coming Of Age’. Produced
by Grammy winner, Paul
Epworth (Adele, Bruno
Mars, Bloc Party), their
2nd album ‘Supermodel’
will be released on
March 14th.
SHAKIRA
Can’t Remember
To Forget You feat.
Rihanna
BRUCE SPRINGSTEEN
THE NEW #1ALBUM
FEATURING
HIGH HOPES, THE GHOST OF TOM JOAD & JUST LIKE FIRE WOULD
WITH SPECIAL GUEST
TOM MORELLO
AVAILABLE NOW!
THE
NEIGHBOURHOOD
Sweater Weather
TOURING AUSTRALIA - FEBRUARY 2014
The boys from
California have
clocked up over 18
million video views on
this super catchy tune
which hit Top 15 on
the US CHzR radio and
Billboard charts and is
currently platinum and
climbing.
FEB 5TH
FEB 7TH
FEB 8TH
FEB 11TH
FEB 12TH
FEB 15TH
FEB 16TH
FEB 19TH
FEB 22ND
FEB 23RD
FEB 26TH
WATCH OUT FOR SCORCHIN’ HOT NEW TRACKS FROM :
Jessica Mauboy, Bonnie Anderson, The Collective, Justice Crew, Jezzabell Doran,
Taylor Henderson, Dami Im, Samantha Jade, Reece Mastin, Jackie Onassis
brucespringsteen.net
PERTH ARENA
PERTH ARENA
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ADELAIDE ENTERTAINMENT CENTRE
ADELAIDE ENTERTAINMENT CENTRE
AAMI PARK
AAMI PARK
ALLPHONES ARENA
HOPE ESTATE WINERY
HOPE ESTATE WINERY
BRISBANE ENTERTAINMENT CENTRE
facebook.com/brucespringsteen
PERTH
PERTH
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ADELAIDE
ADELAIDE
MELBOURNE
MELBOURNE
SYDNEY
HUNTER VALLEY
HUNTER VALLEY
BRISBANE
twitter.com/springsteen
| MUSHROOMGROUP.COM
Berklee College of
Music officially welcomes
JMC Academy.
Berklee College of Music is proud to announce JMC Academy
as the Australasian Partner of its unique international network
of Contemporary Music schools.
We are excited by the association and look forward to the mutual
opportunities this will bring music students globally in the future.
For more information visit berklee.edu.au/international,
jmcacademy.edu.au/about/partnerships.cfm
or call 1300 410 311.
Sydney. Melbourne. Brisbane.
RELIVE THE 2014 BIG DAY OUT
WITH EXCLUSIVE LIVE PERFORMANCE
AUDIO AND BACKSTAGE INTERVIEWS
DOWNLOAD THE RDIO APP FOR FREE OR GO TO ONRDIO.COM
CONTENTS
31
THE INDUSTRY 2013:
10
NEWS IN REVIEW
14FRONTLINE
19FESTIVALS
20 THE PROMOTERS
24DIGITAL
26RADIO
50
28 INDUSTRY BODIES
31
CHARTS: TMN HOT 200
THE LABELS:
38UMA
40 SONY SME
42WMA
44MUSHROOM
46EMI
47SHOCK
60
48INERTIA
54
49MGM
THE FEATURES:
50 MIGUEL
Your expectations have multiplied. So have we.
MCN has brought together and strengthened its integration, production and
activation departments. We call it Multiply.
With data-driven insights, a focus on multi-screen solutions and an innovative
creative team, we can now multiply every aspect of your campaign to deliver
you an even better advertising experience.
To multiply your next music campaign, talk to your MCN representative today.
www.multiply.com.au
53 BANDING TOGETHER
54FLUME x INTEL
56 RECORDING THE BOSS
58 THE FINN DYNASTY
60 McALISTER KEMP
62 MAGIC!
19
64 14 TO WATCH IN ‘14
THE TEAM:
CEO/PUBLISHER: Mark Dalgleish
GENERAL MANAGER: Matthew Cowley
EDITOR: Nathan Jolly
ASSOCIATE EDITOR: Poppy Reid
CHART & MUSIC MANAGER: Daniel Mulherin
DESIGN: Jim Parry, Mine Design
CONTRIBUTORS: Christie Eliezer, Benn
Laidlow, Danielle Long, Nastassia Baroni,
Victoria Lucas
Connect to the business of music | TheMusicNetwork.com 9
NEWS HIGHLIGHTS OF 2013
7th
KICKSTARTER TO LAUNCH IN
AUSTRALIA AND NEW ZEALAND
UK #1 single in seven
17 September 2013
28 August 2013
consecutive years for
The confusing lawsuit stemmed from Jade’s involvement
Crowdfunding platform Kickstarter is moving into the
Rihanna when Monster
with The X-Factor television show, which she won while
Australia and New Zealand markets “soon”. Rather than
Like A Version Nine. Many
still being under contract to Camp West.
a one-hit launch, it made its announcement via a series of
ABC compilations topped
came in at top spot. This
puts the Barbadian singer
alongside The Beatles and
Elvis Presley.
BEYONCE SCORED FASTEST-SELLING
ITUNES ALBUM EVER
December 17 2013
physical sales, Red sold 1.2m copies total during the week.
Beyonce’s surprise self-titled album had been setting In addition, the record was the first to top the iTunes
sales records since its release, and in December iTunes
Albums charts of more than 100 countries – 104 was the
and Columbia Records reported it had officially become
last count, a figure that is likely to have shifted by the time
the fastest-selling album ever worldwide through the
you read this.
iTunes Store.
According to Billboard, the album had sold 828,773
All in all, it was an impressive first week, and with
physical copies of the album available the following
copies in its first three days, ensuring the record a #1
Friday, the album has sold 3 million units worldwide as of
debut.
this month.
Beyoncé also broke the US iTunes record for the
Beyonce has had all five of her records top the Billboard
largest sales-week, with 617,000 sales – despite only
chart while in Australia the singer has enjoyed four
being available for three days of that week. It beat Taylor
records in the top 3 and all five in the top 8. Her past
Swift’s previous record: Red which sold 465,000 copies
three records were certified 2x Platinum and Platinum in
last October during its first week, although coupled with
Australia, respectively.
1st
SAMANTHA JADE, SME, FREMANTLE
AND GUY SEBASTIAN SUED
The label claimed to have spent eight years, and $2
million on her career, and asked for 20% of her earnings.
#1 ARIA Top 100 album for
teasers.
ABC Music with triple j’s
the compilation charts
One of its biggest Australian success stories was
The case was filed at California’s Central District Court
entrepreneur Tan Le who was funded $1 million for a
and dismissed one month later.
headset provided an analysis of a patient’s health.
but, until now, not the Top
100 chart. Like A Version
Six got to #2 in November
2010.
$130m
share loss for Southern
$500,000
Cross Austereo after the
minimum guaranteed to
announcement of the
Miley Cyrus by Live Nation
departure of Kyle and
for each of her US dates.
Jackie O.
29th
COLD CHISEL FORM OWN LABEL,
SWITCH DISTRIBUTION TO WARNER
TOM BALLARD LEAVES RADIO,
TRIPLE J UNVEILS REPLACEMENT
135g
of Vegemite devoured
21 August 2013
December 3 2013
After 25 years with WEA (now Warner Music), save for
Following the news that Tom Ballard was to leave radio
Phillips of Power 94.9 FM
Dami Im, whose Alive came
a quick dash over to Mushroom for 1998’s Last Wave Of
after four years to focus on stand-up comedy, Matt Okine
as part of Jock’s Journal’s
in at #1. Dami was also the
Summer, Cold Chisel announced they had formed their
was announced as the new triple j co-host alongside Alex
Vegemite 90th birthday
19th Australian female solo
own label Cold Chisel Music and switched distribution to
Dyson. Ballard and Dyson won the ARIA Award for Best
competition. His prize: 5x
Universal Music Group.
Comedy Release, capping their partnership nicely.
reality TV show winner to
top the ARIA chart was
artist to hit the top since
Olivia Newton-John first
“We’re keen for people to keep discovering Cold Chisel’s
music”, said singer Jimmy Barnes.
in 60 seconds by Cal
400g jars of Vegemite.
Okine won Best of the Fest at Sydney Comedy Festival
and began in the role on January 13.
Australian act to make it
$459,000
to the top (The Gavin Ryan
(US) grossed by Roger
did it in 1971, and the 98th
Report).
Waters’ three year Wall
Live tour. It beats the solo
record of $407 million
£480,000
previously set by Madonna
winning bid for John
with her Sticky & Sweet
Lennon’s modest childhood
tour in 2008-09. Waters’ is
home (9 Newcastle Road
the third highest-grossing
in Wavertree, Liverpool,
tour of all time after U2’s
JOHN WILLIAMSON QUIT CMAA
PRESIDENT OVER AWARDS ROW
KIIS-FM LAUNCHES IN AUSTRALIAN
MARKET, WITH KYLE AND JACKIE O
Lane) despite going on the
ARN LAUNCHED iHEARTRADIO
AFTER LONG-WINDED LEAD UP
ROADSHOW MUSIC FOLDS AFTER 19
YEARS
December 10 2013
December 2 2013
The anonymous American
05 August 2013
13 MAY 2013
After ten years of presidency, John Williamson quit
US radio conglomerate Clear Channel launched its
the Country Music Association of Australia, citing the
popular brand KIIS-FM in Sydney, after rumours abound
fan of The Beatles put the
The Australian Radio Network (ARN) finally launched
An insider revealed to us in May that Roadshow Music,
iHeartRadio in beta in Australia. The Clear Channel’s free
a division of Village Roadshow, were closing their doors.
“Americanisation” of the industry.
that the ARN-owned MIX station would rebrand as
digital music service, which offers more programming
The label focused on the licensing of recording artists
and station choices, had been in the works since last
since its inception in 1994. Among their roster over the
October. Although it was only available online and in beta
years was the work of Savage Garden, Axle Whitehead,
upon launch, the full service launched in September when
Killing Heidi, Jae McRae, The Butterfly Effect and
it was also available on mobile.
Hamish and Andy.
not too far from Penny
market for just £150,000.
“If we are not respected as a legitimate organisation to
KIIS, with the newly-acquired Kyle and Jackie O team
promote original Australian country music, I cannot be
spearheading the channel. The press release announcing
associated with it any longer,” he said, citing Troy Cassar-
Kyle and Jackie O’s defection to ARN mentioned the
Daley and Adam Harvey’s The Great Country Songbook.
launch of a new station on 106.5.
8 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
bid in over the phone.
5mil
Australian members on
LinkedIn.
360° which grossed $736
million (and ran from
2009-2011) and The Rolling
Stones’ A Bigger Bang
which grossed $558 million
from 2005-2007.
£2mil
paid to Katy Perry for her
autobiography.
Connect to the business of music | TheMusicNetwork.com 9
NEWS HIGHLIGHTS OF 2013
DATA ERROR SAW YEEZUS KNOCK
COUNTRY SONGBOOK OFF CHART
TAMWORTH AND NASHVILLE ARE
NOW SISTERS
24 June 2013
05 June 2013
of Amazon music
people tried iTunes Radio
downloads are cheaper
less than a week after its
than iTunes, according to a
launch, Apple reported.
After announcing that The Great Country Songbook by
The music capitals of Australia and the United States
Troy Cassar-Daley and Adam Harvey was #1 on their
signed a deal on June 7 to become sister cities. Tamworth
albums charts, ARIA recalculated and adjusted the chart,
became the seventh city in the world to team up with
claiming a “data error” meant Kanye West’s Yeezus
Nashville in this way. Producer Mark Moffatt told ABC
should have, in fact, taken #1. The change came moments
Radio, “This place has become the centre of the universe
after ‘80s Christian glam metal band Stryper challenged
for all genres, not just country. And I think a lot of
raised by ABC Radio
Kanye to prove God actually appears on the record.
Australians are starting to realise that.”
around Australia for
2013 report.
$500,000+
refugees in the violent
Syrian civil war.
6th
MTV AUSTRALIA LAUNCHED TWO
NEW MUSIC CHANNELS
October 29 2013
Australia’s MTV Music resembles its UK namesake
and countdowns hosted by international artists. MTV
around the world. MTV Music, an Australian version of
PUSH, the channel’s worldwide promotional vehicle for
$5,000
$160,000
the UK’s number one music channel, and MTV Dance,
breaking artists, global versions of MTV News and other
ransom demanded by dog-
the iconic youth broadcaster’s first 24 hour channel to
music-based MTV programming features on the channel.
nappers for rap executive
(US) paid for by a Kiss fan
exclusively feature electronic, hip hop and R n’ B, both
for a piece of gum chewed
launched on Foxtel on December 3.
$247,710.28.
84%
Kerry Taylor, Senior Vice President and General
Australian and Kiwi artists that are breaking
internationally are featured in MTV Music programming,
with MTV’s Sydney-based team working in partnership
Manager of MTV for Viacom International Media
with MTV’s centralised programming team in the UK
Networks UK, has creative oversight for all MTV channels
to add local relevance for Australian audiences. For
in the UK, Ireland, Russia, Hungary, Israel, Australia
example, New Zealand artist Lorde was the MTV PUSH
and New Zealand. Ms Taylor told The Music Network,
artist pre-launch and was promoted on 63 channels in 152
“MTV has a long and successful history in Australia and it
territories worldwide, 40 MTV websites and 80 localised
remains a very important market for us internationally. “
social network channels.
really connected with Ella and vice versa, and it’s really a
The deal, which included Lorde (real name Ella Yellich
O’Connor)’s debut EP The Love Club, worldwide hit full
length Pure Heroine, and any future recordings, put an
tremendous opportunity for us [...] We think she’s a oncein-a-generation type artist.”
Songs Music Publishing executives haven’t commented
end to a month-long bidding-war, where the majority of
on the exact terms of the deal, but The Wall Street
the global publishing giants were vying to work with the
Journal reported other publishers said some bids had
17-year-old songwriter.
reached $4 million.
But it was the boutique outfit, Songs Music Publishing
Lorde’s team said they chose a company that promised
Inc. that came out on top. Founder/CEO Matt Pincus
to seek new digital revenue channels and nurture her
credited the deal to the company’s head of A&R Ron Perry
creative career.
for his persistence, having followed Lorde on nearly all of
her US tour dates.
“She could have signed anywhere she wanted to sign,
and I don’t know what other people were offering, but as
10 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
“Even before signing her they were bringing her
options for collaborations and introducing her to other
songwriters,” said Lorde’s manager Tim Youngson. “The
decision wasn’t made on money.”
Medicine and Public Health.
Russell Simmons and his
girlfriend, Hana Nitsche, for
their pooch Ivy.
3,500
entries for Stereosonic
festival’s inaugural design
of Australia’s classical
competition with graphic
musicians suffer from
design marketplace
performance-related
99designs.
physical pain, anxiety and
depression, according to a
Publishing worth up to $2.5 million.
of Newcastle’s School of
programming, global music video premieres, chart shows
TV. The asking price was
and it’s about people,” Pincus said of the deal. “Ron
and less alcohol time),
according to the University
Australia and affiliate them further with MTV channels
by Gene Simmons on live
Lorde signed a publishing deal with Songs Music
to Newcastle’s last drinks
rule (reduced trading hours
music channels in a move to refresh their offering in
(Fill Me Up).
we often say — music publishing is about relationships
reduction of violence due
and features pop, rock, urban and alternative music
Mauboy with Pop A Bottle
November 13 2013
33%
MTV Australia announced the launch of two new pure
Top 10 hit for Jessica
17-YEAR-OLD LORDE SIGNED
$2.5MILLION PUBLISHING DEAL
11m
78%
$3-4m
study by the University of
Sydney.
2%
what Alan Jones’
comments about former
PM Julia Gillard reportedly
EMI SHUT UP SHOP; 20 EMPLOYEES
RETRENCHED
RUSSELL MORRIS’ FIRST TOP TEN IN
44 YEARS GOES GOLD
copyright infringements,
29 JANUARY 2013
29 MAY 2013
says research by Kantar
Almost half the company’s employees, slightly over
Russell Morris’ Sharkmouth went Gold in May, for sales
twenty staffers, were let go in January. New roles were
of 35,000, his label Ambition Music Group said.
of UK’s Internet users
cost Macquarie Radio
Network.
account for 74% of all
Media. But it also
discovered that those who
then finalised for the remaining employees by the week’s
The album, the singer songwriter’s first Top 10 album
infringe tend to spend
end on February 1.
after a 44-year solo career, won the Blues & Roots
more money on legal
It followed the 2011 sale of the music giant to Universal,
category of last year’s ARIA Awards. Morris is best
with UMA moving some of their staff into the Surry
known for his Molly Meldrum-produced 1969 hit The
Hills office.
Real Thing.
digital sales than those
who don’t infringe.
5.9mil
takedown requests from
copyright-holders to
Google over the month of September, 2013, a
record high.
Connect to the business of music | TheMusicNetwork.com 11
FRONTLINE
PICTURE CAPTIONS:
BEHIND THE SCENES: PARTIES, PLAQUES AND
PROUD MOMENTS IN 2013
01 Mushroom’s Executive
Producer Matt Gudinski
with fellow long-haired
Aussies Stonefield
02 triple j’s Lindsay
McDougall, with New
01
04
07
Zealand’s wunderkind
Lorde
03 The Seekers with their
much-deserved Ted Albert
Award, at the APRAs.
Photo: Tony Mott
04 Denis Handlin AM
(Chairman & CEO,
Australia & New Zealand
and President, Asia, Sony
Music Entertainment) and
Jennifer Lee (Marketing
05
Manager) celebrating
08
Platinum sales for Classic
with MKTO
02
05 Former Channel [V]
host Billy Russel gets
carried away with Steel
Panther
09
06
06 Naomi Campbell walks
the red carpet at Foxtel’s
Music Channels relaunch in
Sydney - she’s a natural!
10
07 NOVA’s Smallzy plays
the geek to Bruno Mars’
chic during the pop artist’s
promo visit
08 Music guru Kathy
McCabe cheek-to-cheek
with EMI Music AU’s
Managing Director (and
Cold Chisel’s manager)
John O’Donnell
09 Alicia Keys looking
electric at the launch of
Foxtel’s Music Channels
10 Denis Handlin AM and John Parker (General
Manager Marketing and
Promotions Aus & NZ) give Beyonce yet
03
14 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
another award - for sales
of over 4 million units
in Australia
Connect to the business of music | TheMusicNetwork.com 15
FRONTLINE
PICTURE CAPTIONS:
1 1 Channel [V]’s Danny
11 12
Clayton stands up to Moby
Photo: Oliver Minnet
13
12 Winners! 360 and Gotye
at the APRAs. Photo: Tony
Mott
13 Robert DeLong with two
new friends at NOVA’s Red
Room
14 Macklemore LLC present
Macklemore & Ryan
14
Lewis with plaques for 7x
Platinum sales of Thrift
Shop, 3x Platinum sales of
Same Love and Platinum
sales of The Heist
17
15 Jason Derulo freestyling
at NOVA’s Red Room
16 George Ash (President,
Universal Music Asia
15
Pacific), John O’Donnell
(MD, EMI AU), Katy
Perry (global superstar),
Steve Barnett (Chairman
& CEO, Capitol),
Robbie McIntosh (EVP,
International Marketing,
Capitol) and Andrew
Kronfeld (President, Global
Marketing) celebrate Perry’s
7x Platinum single Roar
17 Three was the magic
16
number for Taylor Swift
and George Ash (President,
UMA) as Red is certified 3x Platinum
18 Pink and daughter
Willow celebrate after
the singer broke her own
attenance record at Rod
18
20
Laver Arena, where she
played 18 sold-out shows.
19 Tim Kelly (GM
Marketing, UMG), Robin
Thicke and George Ash.
20 Harry Connick Jr., J. Lo,
Ryan Seacrest and Keith
Urban celebrate Urban’s
Fuse hitting #1 like stars do
- with cake.
16 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
19
Connect to the business of music | TheMusicNetwork.com 17
FESTIVALS
MUSIC FESTIVALS: A TOUGH 12 MONTHS
D
epending on who you listen to, the
Big Day Out, with the details of this deal still
festival market is either about to
granted. We’ve got lots of years of experience,
undisclosed. Big Day Out struggled slightly this
collapse due to an unsustainably
but I guess everyone else does as well. One
year as well, with the rescinding of a second
crowded marketplace and rising
thing we can say with confidence is that we
Sydney show for 2014, and headliner Blur
artist costs, or it’s a vibrant,
are not going to collapse any time soon. But
unceremoniously pulling out. Oddly enough,
healthy industry – with one of the major
beyond that, you just have to take it like sports
Homebake suffered more than Maddah from
Australian players being bought recently for a
people say they do: a match at a time.”
the cancellation of Harvest Festival, with its
reported $75m.
Stereosonic’s main rival Future Music was
scheduling at the Domain a mere two weeks
also bought out this year, although ownership
before the proposed Homebake date forcing
truth lies somewhere in the middle. It was
remained closer to home, with the Mushroom
Homebake organisers to shift to a three-day
obviously a tumultuous year in the world of
Group acquiring the festival, plus other
event at the Opera House. Punters weren’t sold,
music festivals: Homebake, Harvest and the
Future Entertainment entities Goodlife and
neither were tickets, and a surprisingly honest
second Sydney Big Day Out all fell victim to
Summadayze.
press release was shot out, stating “traditional
As with most market predictions, the actual
poor ticket sales, while Future Entertainment
“Future were leaders,” Michael Gudinski
went into liquidation, before being rescued by
tells TMN. “I think it was critical for us to get
the Mushroom Group.
involved, I think the festival could have easily
Adding further insult to injury, Harvest
not gone ahead, because it’s obviously a tough
had cancelled mere days before Homebake
the Totem OneLove group were acquired by
time for festivals. We’re confident that the
announced their venue change – a situation
SFX, regional festival Groovin’ The Moo’s
event should continue on. We got involved
which organisers rued as “achingly ironic” –
strong ticket sales prove music taste doesn’t
quite late, so we’re learning. We haven’t
however the ocean-liner analogy unfortunately
remain within city limits, St. Jerome’s Laneway
changed that much – we’ve added a bit, and
rings true: trying to change course this late in
Festival added a Detroit leg, and a number
obviously we’ll see how we are going.”
the journey is a futile task, as poor ticket sales
Yet, there remains hope. Stereosonic and
of boutique festivals have enjoyed increasing
Homebake fans have rejected this change in
Mushroom Group also bought boutique
format […] and venue.”
demonstrated.
success – or launched impressive inaugural
festival Sugar Mountain, which Gudinski
events – suggesting that the marketplace
sees as a long-term project. “The thing with
there are winners and there are losers - and
isn’t dying, it’s merely shifting to a number of
festivals is you’ve got to build them up,” he
changes will have to be made in order to keep
smaller, tightly-curated efforts.
explains. “You can’t go in there, and just throw
the industry afloat. The very way in which
advertising, throw money at it.”
people consume music and enjoy culture is
Totem OneLove Group, promoters of
Stereosonic, Creamfields, Solar Music and
VISIT US In-STORE OR SHOP ONLINE
GENERALPANTS.com.au
“We certainly don’t take anything for
As with every year in such a turbulent sector,
Promoter AJ Maddah had a mixed year: he
rapidly shifting, and will continue to do so as
Outrage, were the big winners in 2013, selling
launched the Vans Warped Tour in Australia,
long as technology continues to hurtle along.
the company in October to dance music
but was forced to cancel November’s Harvest
The most hopeful note to sound from 2013’s
juggernaut SFX for a reported $75m. Although
Festival after only 18% of Brisbane’s 17,500
festival market is that, undeniably, hundreds-
this would seem to ensure continued success,
tickets, and “30-40 per cent” of Sydney’s
of-thousands of Australians still want to stand
co-Director of Totem OneLove, Dror Erez, told
20,000 had sold by mid-September.
in a field and watch live music – in whatever
TMN at the time of the sale, that they weren’t
Suspiciously close to this cancellation was
form this happens to take in the future.
taking anything as read in this industry.
the news that Maddah had bought into the
by NATHAN JOLLY
Connect to the business of music | TheMusicNetwork.com 19
TOURING
R
E
T
O
OM
THE
PR
GAME
LOOKING AT THE STATE OF PLAY WITH THE NATION’S BIGGEST.
W
orth some $1.2 billion
for big name acts. One promoter who flatly
Since leaving The Frontier Touring Company
annually, the Australian
refused to indulge in any one-upmanship, was
(which he started with Michael Gudinski and
music market helps sustain
Michael Chugg, Executive Chairman of Chugg
Phil Jacobsen in 1979) 13 years ago to forge his
almost 15,000 jobs, houses
Entertainment.
own legacy, Chugg has released a tell-all tome,
almost 4,000 live venues
“We’re just not going to get involved in these
started Chugg Music - his own management
and sees fans spend more on music than they
stupid bidding wars that are going on,” he
company and record label - and won the
do on domestic holiday airfares, buying over
says down the phone from his Sydney office.
lifetime achievement award at the 2008 Arthur
16.2 million concert tickets in 2012, the year in
“Basically all the international promoters based
Awards in London. Billboard magazine also
which we were ranked the sixth largest music
out of Melbourne are in these crazy bidding
named him the fifth biggest concert promoter
market in the world.
in the world right now.
While 2013 saw festival after festival fall
onto the chopping block’s growing pile, the
Chugg looks upon his fellow promoter
TOP 10 TOURS WORLDWIDE
magnates to fix the issue. “[Michael] Coppel
Australian concert industry flourished. The
GFC recovery took leaps and bounds in the
and Gudinski have a lot to answer for because
1. Bon Jovi $259.5 Million
last financial year as punters happily coughed
up an average of $85 to see acts like Taylor
they’re paying some of these bands is just
2. Beyoncé $188.6 Million
Swift, City and Colour and Beyonce. Although
promoters and fans alike were flustered when
3. P!nk $170.6 Million
4. Justin Bieber $169 Million
5. Bruce Springsteen & reprised New Kids On The Block couldn’t bank
The E Street Band
$145.4 Million
“I’ve been a promoter for thirty odd years and
6. Rihanna
$141.9 Million
2013 was the year of the global concert tour,
7. Cirque du Soleil’s Michael
out shows to over 600,000 fans Down Under,
Jackson: The Immortal
$133.4 Million
The great climb in a single territory was
disappearing, so I think what we’re seeing is
Justin Bieber, whose eight national dates
these global major players tying up as many of
8. Taylor Swift $131 Million
Rihanna, who grossed over $10.1 million in
either the artists, or the venues, or the festivals,
as they can so we may lead the trend.”
9. Depeche Mode $119.6 Million
national dates while making finishing touches
As President/CEO of Live Nation Australasia,
Coppel may seem like the Michael with the
10. One Direction $114 Million
who sold out all 90 shows on their Because
We Can world tour - grossing over $205.1
it just struck me that the world’s becoming
a lot smaller and you need to specialise.
with artists like Pink, who performed 46 sold
on her surprise visual album, and Bon Jovi,
Presents, his decision to join Live Nation was
an easy one.
on Australia was a mere drop in an already
Australia alone, Beyonce, who finished 14
biggest live events company approached him
in early 2012 in order to acquire Michael Coppel
international heavyweights that news the
contributed to his $69.9 million gross earnings,
to Chugg’s at one point (with his self-titled
promotion company) but when the world’s
our concert business brought out so many
glittered ocean.
ridiculous.”
Coppel’s trajectory may have been similar
acts like Pitbull, Kesha and The Darkness were
forced to cancel tours due to low ticket sales,
the bidding wars are crazy and the money
biggest budget, but he assures us he’s never
booked a tour on a whim. “Two promoters can
Source: Pollstar Top 200 Year’s End 2013
look at an artist and have a different view of
million in the process.
how successful that tour is likely to be,” he says
wars. They’re just paying far too much for these
down the phone from Melbourne. “If you’ve got
THE YEAR OF THE BIDDING WAR
bands and they need 95% houses (almost sold
any doubts you shouldn’t be doing it because
With every worldwide tour stopping
out venues) to break even.
you’re just doing it for the wrong reasons.”
at Australia’s world class venues and
“We’re being careful. Every promoter knows
Michael Gudinski AM, Founder of Mushroom
subsequently escaping the financial mire
that one of the hardest words to say – but one
Group and its flagship Frontier Touring, has
infringing other markets, it’s no wonder
of the most necessary words right now – is ‘no’,
had a banner year. From Bruce Springsteen,
2013 sparked a few bidding wars between
and we’re getting pretty good at it.”
Leonard Cohen and Neil Young, to Taylor Swift
the country’s big four promoters. Increased
Statistically, Chugg can comfortably avoid
and Muse, it may seem like a hard roster to
risks and pressures due to the high demand
such battles. Chugg Entertainment made
top, but with another Springsteen tour kicking
from international acts wanting a piece of
more than $85 million in the last financial year
off next month and the Australian leg of The
the pie lead to unnecessary inflating of fees
and sold over 900,000 tickets in 2012 alone.
Rolling Stones’ 50th anniversary tour in March,
Connect to the business of music | TheMusicNetwork.com 21
“We try to be
more original,
and I think it’s
made a big impact
internationally,
because we also
do a lot of smaller
acts, we don’t just
sit back.”
for Springsteen 30-odd years ago, his
like eBay and Viagogo while tickets to Bruce
young band we look after, Sheppard, being the
management turned him down. Springsteen’s
Springsteen’s Adelaide concert are up on
number four most played Australian band, and
manager Jon Laudau brought it up with him
secondary markets for up to $450.
#31 in the Top 100.
last year, saying ”We always wanted to work
Chugg believes the legislation is a move
“It’s great to see four Australian acts in the Top
with you but you seemed too wild at the time.”
forward and is doing everything in his power
31 amongst all the heavy international acts, and
Gudinski of course, took this as a compliment.
to personally nix scalpers, with eyes constantly
to see that all those acts are real bands, not
“So Springsteen was something I’d been
scouring sites like Gumtree and eBay for
from reality shows.”
working out for a long, long time, so to see it
offenders.
With ticketing presale partnerships
come to fruition, and then to get on so well
“Some idiot was trying to sell Eddie Vedder
underutilised in Australia, Chugg’s desires
with John Landau – he walks into our building,
tickets for $280 when they’re $125, so we’re
to see brand sponsorship and activation
and said ‘I love the feel of it, it reminds me
chasing him down at the moment - he won’t
contribute to touring revenue is mirrored
of the original Atlantic Records’ […] I never
have those tickets for long.
industry-wide. Live music venues like Allphones
dreamt of it, it’s surreal, but my first band – I
“[In 2012] when we did Radiohead and we sold
Arena and Etihad Stadium lead the charge
went to school with a couple of them – called
60,000 tickets, we noted and found 600 that
but the Telstras and Optuses were almost
Madder Lake, were the support band for
were being bandied around with high prices
untouched territory in 2013.
the Stones in 1973, which was just after we
and we managed to get all but 60 of those
“There’s still not a lot of action in that area,”
started. The Stones did two shows in one day
back, and on resale for real fans.”
says Chugg. “I’d like to see more of it. It’s an
at Kooyong, which is the old Australian Open
Coppel however, believes the proposed model
area that we need to expand in more and more.
tennis venue, and to get the Stones finalised
is flawed. “What they’re actually doing is
I think it’s about getting the brand’s trust that
[for Australia in 2014] – we couldn’t have
forcing responsibility onto promoters and we’re
we can actually deliver what they want, but it is
finished the year off on a higher note.”
not staffed. We shouldn’t be in the position of
early days in that area.”
While Live Nation is very much focused on
enforcing public legislation […] I don’t know if
Live Nation and Ticketmaster have an annual
touring international talent - we were treated
they’re as inclined to listen to what will work
arrangement with Amex to help the bottom
to Beyonce, Alicia Keys and Pink from LN last
as much as they are to be seen to be doing
line of tours, thus offsetting launch costs. “It
year - Coppel admits he had successes, failures
something.
helps with the artist walk out,” Coppel says.
and near misses, but with a partial focus now
on buying out overseas festivals like Voodoo
Music & Arts Experience, the juggernaut looks
to further its prosperity.
“There’s two ways to make your money at
the light at the end of the tunnel: one way
is to represent or have the venues in which
[artists] play and the other is buying festivals
and taking that approach. I think we combine,
internationally, both of those.
“AEG [Live, the world’s second largest
presenter of live events] tend to specialise
more in owning the venues. They do tours that
“The tours that we
have had, have been
bigger, smarter and
more aggressive
in relation to the
competitors.”
Michael Coppel
help fill their venues, but are not as focused on
“Our feeling very much is that it’s the wrong
decision to a real problem and I just don’t
think they’re willing to listen to what the
industry is putting forward. […] We would
prefer legislation that caps the percentage to
be added to the face value of the ticket. I think
it’s easier to police that way. For fans who are
buying tickets to shows, whether legitimately
or via a warp in the system, and then selling
them with a 200% mark up to fans who are
desperate to go and have missed out - I think
“Coppel and
Gudinski have a lot
to answer for
because the bidding
wars are crazy.”
Michael Chugg
“It makes it more affordable to tour here. It’s
really important, it’s definitely a factor that’s
become a front-of-mind priority in the last two
or three years. There are major brands in each
market that can benefit the talent we bring
through both in terms of promotion and ticket
access and focus on their brand. The margins
are shrinking everywhere else in terms of
what you’re allowed to make. You need to find
different ways to stretch the envelope.”
Coppel joins Chugg in his high hopes for local
that’s really wrong.”
acts. While he deals predominantly in arena
Live Nation and Ticketmaster – who have been
did last year [with too many acts]. I think
and stadium tours for internationals, he looks
in bed with one-another since 2010 - have
promoters have got to be careful with how
to 2014 as the year our artists join the club
doing as much touring as Live Nation is. And
appealing offer.
developed a ticket exchange system called TM+
quickly they bring some of these acts back.”
currently reserved for rock and pop chart
then there’s the approach of buying festivals:
“I think we’ll always have competition,”
where fans can resell tickets with a realistic
Springsteen must be the anomaly here: his
toppers.
the real estate that artists play in. I think that’s
continues Coppel, “because some of the acts
mark-up using Ticketmaster as the middleman
ten Australian dates in February and March
“We’ve got a lot of acts who do well at theatre
where Live Nation will come out on top.”
need it, unless an agent’s got three strong
while guaranteeing validity. Most notably, if the
generated over $25 million in ticket sales, and
and club level but haven’t broken in to arenas.
As for Coppel’s views on his local competitors,
buyers, they don’t see a tour as viable. […]
show is cancelled, the most recent buyer gets
with his Australian and New Zealand dates
I’m hoping some of them will build up to the
he suggests bidding wars send a healthy
The tours that we have had, have been bigger,
the refund, not the original buyer - as is the
almost completely sold out, Gudinski’s Frontier
5,000-6,000 capacity venues.
the first quarter of 2014 easily eclipses his
message to big name acts and their agents.
smarter and more aggressive in relation to the
case with secondary market sales. Ticketmaster
Touring were anything but preemptive.
“I believe the record industry will either
competitors in terms of international appeal.
“Frontier Touring have been doing well in the
competitors.”
collects 10% of buyer and seller fees upon each
“No-one around the world can believe that
maintain or contract, I can’t see it expanding. I
“Look, success breeds success,” the 61-year-
past twelve months. I think they’ve seen us as a
transaction and shares the revenue with artists
he’s coming back,” says Gudinski, “because
also see a lot of the outside companies, such as
old says over the phone from Los Angeles,
challenge and they’ve taken on that challenge
NEW SOUTH WALES GOVERNMENT WANT
- depending on their contracts of course.
he’d never played Adelaide or Perth ever, and
the telcos, who want to enjoy their brand being
“I believe that. Live Nation are a very, very
and had a lot of strong tours. I think Paul
FAIR TRADING
I made a big deal about it, and he didn’t play
aligned with live music. It will probably be as
important worldwide organisation and I think
Dainty is rebuilding his business with the idea
Last year saw the New South Wales
KEEPING THE FIRE BURNING
New Zealand this trip. The first time Frontier
big or bigger than the sporting industry.”
it’s important that some independents stand up
of becoming a global player himself and finding
government announce ticketing resale
The touring industry greatly depends
toured him when we played New Zealand,
According to a forecast by
and fight, and I think we’re revolutionising and
it’s not as easy or not as successful a ploy as he
legislation which could hit online markets with
on a healthy Dainty, Frontier and Chugg
eleven years ago, he had 25,000 people and
PriceWaterhouseCooper’s annual
changing – change is very important.
thought it might be.”
fines should they refuse to remove scalped
Entertainment. Each are increasing their
this time we’ve sold 72,000 out of 74,000, so
entertainment report, the Australian live
“Things move very quickly these days, so
Unfortunately, Paul Dainty was unable to
tickets being sold for inflated prices. The new
presence as global king-hitters, standing
it’ll sell out.”
industry will turn over $830 million annually by
we’re trying to look at not having a formula –
comment due to overseas commitments. His
legislation also requires resellers to include
tall against the Live Nation giant whilst
Chugg’s attention is predominantly on home
2016, with a 5.5% increase each year before.
press button A then button B – with how we
Dainty Group made global headlines last year
details like ticket and seat numbers and gives
having patience for our homegrown
soil; he lists the radio success of Perth band
And while the industry consensus is that we’ll
promote, and how we market. We try to be
when his deal to promote the Rolling Stones’
promoters the right to refuse entry to those in
talent’s development process. Still, despite
Birds Of Tokyo and Brisbane’s Sheppard among
experience an ‘international act drought’ in
more original, and I think it’s made a big impact
Australian leg fell through. Billboard reported
breach of their terms.
the unanimous acknowledgement of the
his 2013 highlights. “It was very satisfying for
2014’s first quarter due to a lull overseas, these
internationally, because we also do a lot of
Dainty tried to pull together other promoters
Currently, tickets to see the Rolling Stones’
international market’s mass appeal, Chugg
me to see that Birds Of Tokyo were the number
artists are the key to attracting and maintaining
smaller acts, we don’t just sit back.”
to offset “a guarantee believed to be in the $80
upcoming Adelaide show are being scalped
heeds concern to promoters looking to ape
one played record on Australian radio, beating
revenue from high-end ticket prices.
Interestingly, when Gudinski first pitched
million range,” but was unable to deliver an
for as much as $3,000 on digital platforms
2013: “I hope that it won’t get messy like it
out all the internationals. And also to see the
by POPPY REID
Michael Gudinski
22 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
Connect to the business of music | TheMusicNetwork.com 23
DIGITAL
THE WORLD OF DIGITAL MUSIC
It’s predictive data that
goes beyond simple
radio airplay.
Our goal is to put Spotify
royalty payments into
perspective and context.
The more brands that
are out there to educate
the market, the better.
There’s no ceiling on what
you can earn from that
one song.
RICH RILEY, CEO
THOMAS HEYMANN
SOPHIE PATERSON
SCOTT BAGBY
CEO
Head of Australia and New Zealand
PR MANAGER
HEAD OF STRATEGIC PARTNERSHIPS
Shazam
Deezer
Spotify
Rdio
What were some of the highlights for Shazam in 2013?
Deezer had an impressive 2013, as did streaming in general. What were
2013 saw Spotify under a lot of fire from artists unhappy with the
You expanded into a number of new territories last year. Do you
Last year was an amazing year for Shazam on a number of levels. We
some of the company’s high points?
format or royalties payments. Does Spotify take this criticism seriously,
approach the roll-out for each territory differently, or is there a
received $40m in funding from one of the biggest names in mobile,
2013 was a massive year for Deezer in terms of growth but also new
and what is your response to it?
blueprint in place now?
Carlos Slim and his company, America Movil. On the product side, the
product developments and partnerships. Some of the highlights were
Creating new revenue streams post-piracy was one of the main reasons
There’s a blueprint with the labels. It’s taken us a while but we have
most important development was the addition of the new Auto Shazam
our new Hear This feature across all platforms, which is second to
Spotify was created, so we’re committed to exploring new, creative ways
global rights for the labels, so that is more-or-so a blueprint. Every
feature, making it even easier for people to identify the media playing
none. A music recommendation half-man, half-machine recommending
to empower artists. In early December we launched Spotify Artists – a
publishing society is different, and so that’s a unique experience every
around them.
albums, tracks and playlists by our worldwide army of 70 editors and by
new artist-facing site offering guidelines for artists and managers on how
time we roll it out [laughs]. Then it’s just a matter of looking at the
The Shazam chart is very interesting, and works well as a predictive
algorithm. Other highlights were our partnerships with music festivals
to get the most out of Spotify, detailing average ‘per stream’ rates as
market itself; we’re still a start-up. We have just over 100 employees, so
device. Could you explain a little about how it works?
like Laneway, Bluesfest, Splendour in the Grass, Soundwave and Fat As
well as detailed information on how artists are paid through Spotify. Our
it’s impossible to be absolutely everywhere, but every market is very
With more than 420 million people who use the app around the world,
Butter: I think we picked the best festivals in Australia! Our global artist
goal is to put Spotify royalty payments in perspective and context for the
important to us, so we make sure we have the local repertoire, that’s
Shazam is in a unique position to spot trends and see the songs that are
exclusives with Spender, Reguritator and our guest editor Gossling were
artist community.
done from a central base, one guy running around doing that, and some
tracking well. When people “Shazam” a song, they’re doing more than
a huge success as well, as it really showed how we can take Australian
In addition to helping artists understand their audience, we are also
saying, “Who is that artist? what is the name of that song?” They’re also
music to the world and huge emerging markets like Brazil, Mexico and
now providing artists with new features that will enhance the business
partnerships.
indicating that they are interested in it - it’s caught their attention. We
Russia.
value of their audience on our service: ticketing and merchandise
There was a lot of negativity surrounding streaming and royalties last
took that moment of inspiration and use it to create the Shazam Charts
With Beats Music entering the marketplace, have you had to adjust your
listings right inside of Spotify, for free. And last, but not least, we’ve now
year. Does Rdio tend to stay out of these public conversations, or steer
to show what artists and songs are resonating in markets around the
marketing plans at all?
officially paid out US $1 billion dollars in royalties to date, with US $500
them to a more positive place?
world, as well as by genre.
Beats is launching its music streaming service by talking up music
million being paid out in 2013 alone. These are sizeable numbers, and the
I think when people take different stances on it, they’re not comparing
curation and a bundled telco deal. At Deezer, we’ve always had editors
year-on-year growth is huge.
apples with apples. They’re trying to force a new world product into old-
people tell you what they like, what they want to hear, they’re helping
on the ground in countries all over the world recommending the best
What does 2014 hold for Spotify? Are there plans to move into any
world monetisation, which is what they are comfortable with and what
us predict future hits. In fact, 85% of the songs that get to number one
new music, and we have over 25 telco partners worldwide. It’s also
other markets?
they know. There are a lot of advantages to streaming music: if it’s a very
in Shazam’s Charts go on to break nationally, making it one of the most
good to see that, like us, Beats is committed to ensuring revenue gets
First and foremost we’ll be working on further evolving and improving
popular song, you only get a certain amount of money, once from iTunes,
accurate predictive measures of success in the industry.
to artists. We will be watching with interest to see if they follow in
the service. On a global and local level we’ll also look to expand our
but if it plays over and over, there’s no ceiling on what you can earn
Shazam seems to be less aggressive in regards to branding and
the footsteps of ‘Deezer for Artists’, which gives musicians the ability
network of partners to offer more ways to get Spotify in your living room,
from that one song from that one consumer. Now, if it’s not a popular
marketing – is that in itself a strategy, or do you feel the product stands
to directly connect with their fans
car and beyond. In December, we launched into 20 new markets, taking
song, and it doesn’t get streamed all that often, well, that’s not our fault
alone?
How do you feel about the streaming market .­ Do you feel it is too
us up to 56 markets in total. That expansion into Asia, Latin America and
[laughs]. But we do understand that a lot of artists have their contracts
While we have never done a Shazam ad campaign, we have been
crowded?
beyond will continue.
set up in the old world, so they need that upfront money to go and
included in ad campaigns from companies like Apple, Amazon and Dell.
It is getting hot in here. I like it crowded: the more brands that are out
What does Spotify look for in its brand and musician partnerships?
play gigs, and invest in their next album. So the long-term isn’t always
However, the majority of our growth has come from word of mouth,
there to educate to market, the better. I believe with Deezer we have a
There’s no hard and fast rule, however we try to look for brands and
necessity sufficient for some artists, which is why we do things like our
which, we think, is the best kind of advertising there is!
strong global brand and we are well positioned to prevail.
artists that are going to resonate with our users, and capture new ones.
Artists’ Program, to help and support the artists to get money upfront.
It’s predictive data that goes beyond simple radio airplay - when
24 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
of the major markets – like Australia – we’ll build up a team and look for
Connect to the business of music | TheMusicNetwork.com 25
RADIO
ON THE DIAL: THE WORLD OF RADIO
ON THE DIAL: THE WORLD OF RADIO
Nothing can compete
with the connection
that radio makes.
triple j played 47%
Australian music
in 2013.
We wanted them to
join us, and they were
keen for a change.
Every good breakfast
show is filled with big
personalities.
The CBAA was delighted
and relieved by the
restoration of Federal
Government funding.
CRAIG BRUCE
MIKE CASS
DUNCAN CAMPBELL
HEAD OF CONTENT
ASSISTANT GROUP PROGRAM DIRECTOR
NATIONAL CONTENT DIRECTOR
Southern Cross Austereo
DMG
Australian Radio Network
2013 was an interesting year for SCA. What
How, aside from the obvious ratings aspect,
Obviously scoring Kyle and Jackie O was a
were some of the company’s high points?
do you gauge whether or not an on-air team is
major coup. When did it become apparent
Interesting is one way to describe it… The
working?
that luring them over might be a possibility?
return of Mix Perth to number one in book 8
It sounds incredibly old-fashioned, but you use
To be honest, it was obvious that the move
CHRIS SCADDAN
JON BISSET
was very satisfying. The continued success of
your ears. They’re the best tool you’ve got; you
was a real possibility after the first meeting.
MANAGER
GENERAL MANAGER
Eddie, Luke and Mick on the Hot Breakfast was
can hear instantly whether a team has the right
It wasn’t about convincing them to move. We
triple j
Community Broadcasting Association of Australia
also a highlight. We spent a lot of time towards
chemistry, whether they’ve got the room to
wanted them to join us and they were keen
2013 saw triple j record some of our best ever audience figures. Our five-
In 2013, the Community Broadcasting Association of Australia (CBAA)
the back end of 2013 preparing for a slightly
grow, what’s lacking, what’s working well and
for a change. The discussions were all about
city reach was 1.83 million in survey 5 2013 [Nielsen] which is the biggest
flexed sector muscle to show the power of co-ordinated action. As a
different approach for the Today Network given
then you just ask yourself a simple question,
what that change would look like. The actual
reach figure ever achieved by triple j. We surprised everyone by hitting
peak advisory and advocacy body, the CBAA is a leader in promoting
our suite of new shows in Sydney, Melbourne
“Did I enjoy listening?” Add to that the instant
negotiation was the easiest part of the whole
#1 in Perth that survey – a reminder that triple j has a growing young
and protecting the interests of Australian community broadcasting.
and Perth along with the new national drive
reaction you’re able to get with social media
process. Most of the time was spent talking
show, hopefully we’ll see the fruits of that work
(Smallzy is ranked as one of Australian media’s
about what type of station we would wrap
the CBAA’s flagship initiative, the Australian music radio airplay project
across the course of this year.
most powerful social media influencers,
around the show, what people we would need
(Amrap). The Federal Government had suspended Amrap’s funding in
A four-person breakfast team is a bold
starting 25 of Australia’s top 250 hash-tags in
and the marketing.
Splendour In The Grass, to our One Night Stand concert in Dubbo NSW
2012, with an eleventh-hour reprieve of $250,000, until June 2013. By
move. Was there any concern that four big
2013) and you’ve got a relatively good gauge.
What was the thinking behind the rebranding
where Flume debuted his Infinity Prism show live on ABC TV. On top
March 2013, further action secured $2.7 million for Amrap over four years
personalities might clash, or not work on air?
Do you consider streaming services as
of Mix to Kiis?
of the annual Australia Day Hottest 100, we held a second countdown
(2013-2016).
Every good breakfast show is filled with big
competition or complementary to radio?
We knew that the Mix 1065 brand had a strong
personalities, I think we have a good mix of
Absolutely complementary, so much listening
heritage, which no longer reflected the more
audience, interested in new and Australian music - triple j played 47%
Australian music in 2013.
We had a lot of fun this year, from broadcasting for three days at
celebrating the 20th anniversary of the Hottest 100 in June.
This includes a commitment to distribute new Australian music through
The CBAA was delighted and relieved by the restoration of Federal
The triple j Unearthed community has continued to grow online and
Government funding; Amrap is a vital service for community stations and
personality types on the new show. It will take
is now done via different mobile devices to
contemporary music position it began to
on digital radio and is the starting point for much of the Australian music
broadcasters to promote Australia music, both on air and online through
a while for them to find their feet and build
different services but nothing can compete
occupy, making it difficult to grow audience.
that goes on to greatness. Acts that got their start on Unearthed such as
the “AirIt” music distribution service and, recently, Amrap pages.
rapport but everyone working on the project is
with the connection that radio makes. Online
Kyle has always been a fan of KIIS in LA and
aware of the process we need to go through to
streaming is still secondary in a number of
we talked around that as a name - it’s also
catalogue used by more than 3,500 Australian musicians and 2,000
build the sound of the show and we’re excited
ways but if you look at things like Rdio and the
the name of many of our sister Clear Channel
community broadcasters. The 200,000th AirIt file was ordered just
by the challenge of taking something new and
various different radio branded streams, it’ll
stations in the US and research identified it
first Australian birthday, Spotify proclaimed the triple j hitlist as the most
before Christmas. More than 800 radio programs also used Amrap pages
moulding it into something interesting.
become a much greater extension of what we
as one of the most popular station names
popular playlist on their platform. triple j’s YouTube channel gets millions
to promote Australian music on station sites, social media and mobile
Do you consider streaming services as
do. The last Nielsen study in the US showed
[there are hundreds all over the world]. With
of views for Like A Version performances each week, and we maintained
devices.
competition or complementary to radio?
that the vast majority of people still discover
KIIS 1065, we’re building a station specifically
Complementary to our overall business
their new music through radio rather than
for Sydney that’s energetic, cheeky, fun, and
Flume, Boy & Bear and The Rubens all had a huge 2013, and our current
Unearthed J Award winner Remi is set to have a big 2014.
In the digital space, triple j has enjoyed another positive year. On their
our position as one of Australia’s biggest media brands in the social
Last year saw the highest annual usage of AirIt, a subscriber’s music
Another CBAA success was the national social media campaign
space, with close to 680,000 fans on Facebook. Significantly, triple j took
asking MPs to “Commit to Community Radio” through policy support
strategy.
anywhere else, 48% of people in the survey got
reflects the best that Sydney has to offer. At
over the reins of ABC Dig Music in 2013, to refresh and reinvigorate the
and funding, which garnered 43,363 signatories - among them Wally de
You have a number of new teams on air in
their introduction to new music from radio as
the end of the day it’s a name for a station, but
digital radio station as a space to play even more new music for a more
Backer (Gotye), H.G Nelson, Paul Kelly, John Safran and Andrew Denton .
2014. What other changes or innovations are
opposed to 8% from YouTube.
how the station sounds and who it’s targeted
mature music loving audience. We made the announcement in October
And through CBAA’s collaborative Community Radio Network (CRN),
occurring behind the scenes?
Personality speaking, what do you feel makes
to is the key.
and have been taking feedback and developing plans ever since. We’ll
audiences around Australia heard a diverse variety of festivals and
Our internal mantra this year is to take a spirit
for good radio?
What has the feedback been like so far?
be relaunching Dig in April and giving Australians another good reason
events, such as the Tamworth and Mildura country music festivals, the
of originality to everything we do and we now
The ability to engage with the audience,
It’s been incredibly positive, though I have to
to invest in a digital radio. Importantly, Dig will continue to have a large
Jimmy Little Tribute Concert, a live gig at Port Phillip Prison for Father’s
have a bunch of really exciting new concepts
to connect and entertain; be that in many
say that the only feedback that really matters
presence online and is available as audio on digital TV, giving the network
Day, Woodford Folk Festival, the Deadlys, and panel discussions on art
and ideas about to launch, hopefully they will
different guises, but if you cannot connect with
to me are the 10+ numbers and we won’t have
an even wider audience.
and culture.
resonate with our fans and clients.
the listener then you’ll never win the battle.
those for a few weeks.
26 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
Connect to the business of music | TheMusicNetwork.com 27
INDUSTRY BODIES
LOOKING FORWARD, LOOKING BACK
We had a record number of Australian #1
Albums in 2013.
We’re in an incredible
position to be worldleaders.
“The issue of copyright
protection will be front
and centre in 2014.”
2014 may be a big year
for copyright.
IAN WALLACE: CHARTS MANAGER, ARIA
DAN ROSEN: CEO, ARIA
BRETT COTTLE, CEO, APRA | AMCOS
NICK O’BYRNE, GENERAL MANAGER - AIR
ARIA’S CHARTS MANAGER TRACKS THE SALES YEAR JUST PAST
ARIA’S CEO DISCUSSES THE AWARDS AND THE YEAR AHEAD
THE YEAR AHEAD: APRA AMCOS
2014: THE INDEPENDENT SECTOR IS NO LONGER THE UNDERDOG
You’ve obviously studied the charts for many years, what trends did you
The ARIA Awards were widely viewed as a success in 2013 – what would
As always we have a great array of challenges and plans in both the
The recorded music industry can be divided into two main games – The
notice in 2013?
you put that down to? Any specific changes, or realignments?
commercial and service sides of the business.
Distribution Business and the Control Of Copyright Business.
We had a record number of Australian #1 Albums in 2013 with 14, as no
At its core the ARIA Awards need to be about the celebration of our local
album was able to establish total dominance of the charts as Adele was
artists in a respectful and dignified way and we worked extremely hard in
changes for Apple and YouTube will make 2014 a watershed year for
increasingly and inevitably dominated by major labels. Majors are
able to do a year or so ago. There were also a record 34 different #1
2013 to achieve that.
both APRA and AMCOS.
investing huge amounts of money in a race for market share and
albums during the calendar year.
The expansion of ARIA Week in 2013 also played a huge role in
Digital is a rapidly changing landscape; the rise of streaming, and big
In public performance, we will analyse the impact of our joint
The Distribution Business [both physical and digital] is now
influence and the independent sector just can’t keep up. This is bad for
How long has the idea of the streaming chart been around? How hard
bringing our industry together, showcasing new talent and discussing the
licensing partnership with the record industry in NZ and assess, with all
AIR, its members and all aspiring musicians. There are very few options
was it to pull together?
path forward for our industry. All of this adds to a feeling of camaraderie
stakeholders, the possible Australian application of the model. In addition
for artists or indie labels wishing to find a completely independent way to
ARIA began planning a Streaming Chart as soon as the first streaming
amongst the artist community, the local music industry and Australian
we have important and far-reaching changes in our licensing and dispute
deliver music to a wide audience
services emerged a couple of years ago. Once they began entering
music fans and gives us a very unique lead-in to the ARIAs.
resolution practices to implement following our authorisation application
the Australian market, we ramped up these conversations and began
We worked with a number of new and traditional media partners, who
process with the ACCC.
Meanwhile, the Control Of Copyright Business is more and more
dominated by the only companies willing to base their business on the
collecting and testing their data. We were able to launch the first
showed tremendous support for the Awards as we continue to expand
Digital is also a springboard for APRA AMCOS into Asia. Clients want
development of great music and great musicians – the indies. This is
Streaming Chart in late 2012, initially with three services on board. That
the footprint of the ARIAs, through a number of new mediums, especially
fast, streamlined, efficient licensing solutions and our Pan Asian Licensing
great for AIR and its members. If we talk about copyright ownership,
number is now six and includes Deezer, JB Hi-Fi Now, Rdio, Samsung,
online and across social media. It was also exciting to have the ARIAs
initiative will hopefully provide just that in 2014.
AIR’s members have at times, in the past few years, comprised more than
Songl and Spotify.
broadcast for the first time throughout the Asia-Pacific region, helping to
I know you can’t talk specific sales amounts, but what was the closest
expose our artists to new markets and fans.
the year, continue our work as a founding partner and contributor to the
to-be-published analysis by AIR leads us to believe that the independent
week in regards to #1 and #2 on either the Albums and Singles chart?
What issue do you feel the Australian music industry needs to tackle
Global Repertoire Database – which moves into the ‘build’ phase over
recording sector in Australia is worth more than $80m, with a GDP
There were several occasions on both of the Singles and Albums Charts
foremost in 2014?
the coming months - and implement music recognition and metadata
impact of close to $90m. This will increase.
where the difference between the top two titles was within a few
The issue of copyright protection will be front and centre in 2014 and
matching solutions to performance logging problems wherever possible.
percentage points, but the closest result came on the Singles chart of 29
will be critical for our industry. This year, the Federal Government
April when Passenger’s Let Her Go prevailed over Daft Punk’s Get Lucky
will respond to the recommendations of the Australian Law Reform
and federal. The National Live Music Office will support policy reform
retailers and music press stop treating the indie sector as an unexpected
by just 0.3%.
Commission’s inquiry into copyright in the digital age, as well as consider
and sector development and Sounds Australia will be front and centre
over-achiever. It’s also time for the independent sector itself to stop
Conversely, the biggest margin of 2013 occurred on the Albums Chart of
ways to combat online piracy. As an industry we need to make sure that
at 19 international market events. Our ‘Musos in Residence’ program
acting with that underdog mentality.
27 May, when Daft Punk’s Random Access Memories outsold its nearest
our artists and labels can continue to earn a return from their recordings,
will launch in 50 schools across the country and SongHubs will see
competitors by a ratio of more than 7:1. Honorable mention should also
and the protection of intellectual property online is a fundamental part of
international songwriting collaborations here and in the UK, Asia and the
international success. AIR partnered with Sounds Australia and the PPCA to
go to Katy Perry whose album Prism outsold competitors by 6:1 in the
achieving this aim.
USA.
take 10 of our members to New York for A2IM’s Indie Week. What became
first week of November.
2013 didn’t throw up any real surprising spikes outside of the fourth
ARIA will continue to work closely with local music bodies, record
On the service side, we roll out our new website and mobile app during
2014 will see our continued partnerships with government – state
2014 may be a big year for copyright. The Government will respond
35% of Australian music sales, surpassing both Warner and Sony. Soon-
While it’s worth celebrating the success of the independent sector in
2013, it’s time now that policy-makers, major labels, digital platforms,
2013 saw the Australian music industry reach new heights in export and
clear was that our best labels are equal to any label in the world in terms
labels, publishers, managers and artists will work hard to ensure that
to the Law Reform Commission’s recommendations on copyright in
of best business practice. Combine this with the Australian domination
quarter, but the best weeks occurred in May around the time of the Daft
the Government understands this and reflects this reality in its decision
the ditigal environment and will – we hope – work towards facilitating a
of showcases like CMJ and you’ll see we’re in an incredible position to be
Punk release.
making.
solution to the continuing problem of illegal content online.
world-leaders in both the art and commerce of the music industry.
28 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
Connect to the business of music | TheMusicNetwork.com 29
CHARTS
CHART WRAP: THE YEAR AT RADIO
2
013 was a varied, surprising year
at commercial radio. We’ve seen
some huge songs come and go,
some important acts return to the
airwaves, and huge international
tours driving artists like John Legend to chart
and find commercial radio success. What’s
more, an Australian act scored the most-heard
song at radio: Perth lads Birds Of Tokyo, who
took out the top spot with Lanterns, followed
very closely (there were only three points in it)
by Bruno Mars’ Police-esque Locked Out Of
Heaven. The two tracks had a great start to the
year, with lengthy runs; both were commercial
radio mainstays for most of 2013, with both
entries remarkably still in the Hot 100 at #71
and 73, respectively.
Labrinth’s sweeping Beneath Your Beautiful
came in at #3, while The Lumineers’ stomping
hit Ho Hey and Pink’s Just Give Me A Reason
made up the rest of the Top 5.
Daft Punk’s killer robot disco track Get
Punk’s Get Lucky came in at #7.
100, reaching #41. This can be attributed to her
Back to our chart, Bastille’s Pompeii was
relatively short time on the chart. Luckily for
next down the list at #9 after a long run in the
Perry, the track was the highest selling single in
Lucky triumphed over Robin Thicke’s Blurred
top quarter of our chart this year, and busker-
Australia during 2013 – with Prism the second
Lines in the end (the two tracks will forever be
turned-pop-maestro Passenger was #10 with
highest selling album.
linked due to Pharrell’s appearance on both,
Let Her Go.
their breezy disco sound, and their interesting
Lorde had a massive year in 2013, soaring
The next Aussies down the list are the good
to superstardom at a tremendous speed, but
tussle for the top of the charts) as they took
ol’ Stafford Brothers with Hello featuring Lil
out #7 and #8. It was quite a battle, not that
Wayne & Christina Milian at #13 – they’re
big deal out of it; her global smash hit Royals
Pharrell Williams minded too much of course.
also the highest placed dance act to appear in
was only the #35 most heard track. She did,
On the sales side of things though it was a bit
the Hot 100 – which, in this EDM-saturated
however, reign supreme on the year-end ARIA
of a whitewash: Blurred Lines was the second
market, is quite a feat.
Streaming chart, beating out Avicii’s Wake Me
highest-selling single of the year, while Daft
it seems Australian radio didn’t make such a
The only other Aussie dance act to make the
Up, which placed 21st in our Hot 100, making
cut was Flume with Holdin’ On at #59 - a solid
it Avicii’s most-heard song of the year, and
effort considering the track came out in the last
there were a few: I Could Be The One at #28
quarter of 2012. The single also placed 9th on
and Hey Brother at #89 were his other 2013
the year-end ARIA streaming chart.
success stories.
The first of three tracks from Pink’s ARIA
With acts like Calvin Harris contributing
#1 album The Truth About Love to make the
three tracks to the Hot 100, Armin Van Buuren
top half of our Hot 100 is Try at #16, Blow Me
sitting in the top 20, Daft Punk in the top 10,
(One Last Kiss) at #29 and True Love featuring
and breakthrough acts like Zedd, Swedish
Lily Rose at #33. She makes a fourth chart
House Mafia, Flume, Bingo Players and
appearance with a feature on T.I’s Guns &
Rudimental all making a huge impact, it seems
Roses at #55.
fair to call it: 2013 will be looked back on as the
Despite being the longest serving #1 in our
year dance music took over commercial radio.
charts all year, Katy Perry’s Roar failed to
Watch out for the drop.
make a huge impact on the end of year Hot
by DANIEL MULHERIN
Connect to the business of music | TheMusicNetwork.com 31
CHARTS
ARTIST
LABEL
41
#PTS TRACK
1678
STILL INTO YOU
PARAMORE
ATL/WMA
42
1660
ROAR
KATY PERRY
CAP/EMI
Katy Perry had a pretty stellar year. She had tracks going to radio and making our weekly Hot 100 and Most Added charts before they’d even
been serviced to radio. Roar, being the most successful of these, spent a total of eight weeks in pole position.
43
1645
RESOLUTION
MATT CORBY
MERCAU/UMA
44
1637
I NEED YOUR LOVE
CALVIN HARRIS FT. ELLIE GOULDING
SME
45
1624
BURN
ELLIE GOULDING
POL/UMA
46
1595
ON TOP OF THE WORLD
IMAGINE DRAGONS
IGA/UMA
47
1590
HALL OF FAME
THE SCRIPT FT. WILL.I.AM
SME
48
1584
FEEL THIS MOMENT
PITBULL FT. CHRISTINA AGUILERA
SME
49
1565
SMALL BUMP
ED SHEERAN
ATL/WMA
50
1561
SUMMERTIME SADNESS
LANA DEL REY VS CEDRIC GERVAIS
MOS/UMA
51
1538
SWEET NOTHING
CALVIN HARRIS FT. FLORENCE WELCH
SME
52
1531
TALK DIRTY
JASON DERULO
WB/WMA
53
1518
SCREAM & SHOUT
WILL.I.AM FT. BRITNEY SPEARS
IGA/UMA
54
1468
RADIOACTIVE
IMAGINE DRAGONS
IGA/UMA
1
2954
LANTERNS
BIRDS OF TOKYO
CAP/EMI
55
1465
GUNS & ROSES
T.I. FT. PINK
ATL/WMA
2
2951
LOCKED OUT OF HEAVEN
BRUNO MARS
ATL/WMA
56
1457
SAME LOVE
MACKLEMORE & RYAN LEWIS FT. MARY LAMBERT
MACKLEMORE LLC
BENEATH YOUR BEAUTIFUL
LABRINTH FT. EMELI SANDE
SME
4
2860
HO HEY
THE LUMINEERS
INERTIA
DAYLIGHT
MAROON 5
A&M/UMA
LA LA LA
NAUGHTY BOY FT. SAM SMITH
EMI
This track really came out of nowhere this year. Naughty Boy burst onto the scene with this groovin’ little dancefloor killer and quickly
rose through the ranks, thanks to the familiar voice of Sam Smith. 2013 was the year UK dance music took Australian radio. Need any other
examples? See Disclosure, John Newman, Rudimental – or just go out at night…
5
2779
JUST GIVE ME A REASON
PINK FT. NATE RUESS
SME
59
1433
HOLDIN ON
FLUME
FC/WMA
6
2710
WHEN I WAS YOUR MAN
BRUNO MARS
ATL/WMA
60
1430
SOME NIGHTS
FUN.
ATL/WMA
7
2621
GET LUCKY
DAFT PUNK FT. NILE ROGERS, PHARRELL
SME
61
1417
WE ARE NEVER EVER GETTING BACK TOGETHER
TAYLOR SWIFT
BIG/UMA
ROBIN THICKE FT. T.I & PHARRELL
IGA/UMA
621414 PARACHUTE
TIMOMATIC
SME
BASTILLE
VIR/EMI
63
ED SHEERAN
ATL/WMA
8
2569
BLURRED LINES
9 2511POMPEII
1386
GIVE ME LOVE
10
2506
LET HER GO
PASSENGER
INERTIA
641383 DIAMONDS
RIHANNA
IDJ/UMA
11
2490
STAY
RIHANNA FT. MIKKY EKKO
IDJ/UMA
65
RUDIMENTAL FT. ELLA EYRE
WMUK/WMA
1362
WAITING ALL NIGHT
12
2457
TROUBLEMAKER
OLLY MURS FT. FLO RIDA
SME
66
1356
ARMY OF TWO
OLLY MURS
SME
13
2412
HELLO
STAFFORD BROTHERS FT. LIL WAYNE & CHRISTINA MILIAN
UNI/UMA
67
1348
SOMETHING I NEED
ONE REPUBLIC
IGA/UMA
14
2362
LITTLE TALKS
OF MONSTERS AND MEN
UNI/UMA
68
1345
MOUNTAIN SOUND
OF MONSTERS AND MEN
UNI/UMA
15
2301
EVERYBODY TALKS
NEON TREES
MERCUK/UMA
69
1330
LOVE ME AGAIN
JOHN NEWMAN
ISLUK/UMA
16 2189TRY
PINK
SME
70
1307
EVERYTHING HAS CHANGED
TAYLOR SWIFT FT. ED SHEERAN
BIG/UMA
17
2176
I KNEW YOU WERE TROUBLE
TAYLOR SWIFT
BIG/UMA
71
1302
HOLD ON, WE’RE GOING HOME
DRAKE
UNI/UMA
18
2169
LOVE IS EASY
MCFLY
MERCUK/UMA
19
2160
IMPOSSIBLE
JAMES ARTHUR
SME
20
2154
THIS IS WHAT IT FEELS LIKE
ARMIN VAN BUUREN FT TREVOR GUTHRIE
XXX
We featured Drake pretty heavily this year in our coverage, and rightfully so, the breakout success of this single couldn’t have been more
overdue. He has been telling us how great he is for years (and we’ve tended to agree), but only now can he truly count Kanye and Jay Z as
peers.
72
1272
DEAR DARLING
OLLY MURS
SME
21
2150
WAKE ME UP
AVICII
UNI/UMA
73
1268
WILD
JESSIE J FT. BIG SEAN
UMA
22
2136
THANK YOU
MKTO
SME
74
1241
WRECKING BALL
MILEY CYRUS
SME
23
2114
RIPTIDE
VANCE JOY
LIB/UMA
75
1214
RELOAD
SEBASTIAN INGROSSO & TOMMY TRASH FT. JOHN MARTIN
UNI/UMA
24
2105
CAN’T HOLD US
MACKLEMORE & RYAN LEWIS FT. RAY DALTON
MACKLEMORE LLC
76
1202
WE CAN’T STOP
MILEY CYRUS
SME
It’s easy to see that Macklemore & Ryan Lewis killed it in 2013. They burst onto the scene with Thrift Shop (#40) in late 2012 and paved the
way for Can’t Hold Us to steal the show in 2013. It was easily the most-infectiously empowering jam of the year.
77
1198
GOOD TIME
OWL CITY & CARLY RAE JEPSEN
UNI/UMA
78
1198
DON’T YOU WORRY CHILD
SWEDISH HOUSE MAFIA
CAP/EMI
1191
NEXT TO ME
25
2060
I LOVE IT
ICONA POP
NEON/WMA
79
26
2017
COUNTING STARS
ONEREPUBLIC
UMA
801118 ACAPELLA
EMELI SANDE
VIR/EMI
KARMIN
SME
27
1969
TREASURE
BRUNO MARS
ATL/WMA
81
1117
BEAUTIFUL
MARIAH CAREY
IDJ/UMA
28
1964
I COULD BE THE ONE
AVICII FT. NICKY ROMERO
UNI/UMA
82
1103
FIRESTARTER
SAMANTHA JADE
SME
29
1929
BLOW ME (ONE LAST KISS)
PINK
SME
83
1092
POP A BOTTLE
JESSICA MAUBOY
SME
30
1927
MIRRORS
JUSTIN TIMBERLAKE
SME
31
1901
I WILL WAIT
MUMFORD & SONS
DEW/UMA
Our girl Jess Mauboy rose to new heights last year, with almost every single she released making our Hot 100’s top 10. Unfortunately she was
unable to reach the coveted #1 spot, with Miley Cyrus’ Wrecking Ball battling Katy Perry’s Roar for first place around the time this tune hit
radio.
32
1867
ONE MORE NIGHT
MAROON 5
A&M/UMA
84
1089
BATTLE SCARS
GUY SEBASTIAN FT. LUPE FIASCO
SME
33
1862
TRUE LOVE
PINK FT. LILY ROSE
SME
85
1079
WHAT NOW
RIHANNA
IDJ/UMA
34
1827
CLARITY
351773 ROYALS
36
1735
LET ME DOWN EASY
371707CLASSIC
ZEDD FT. FOXES
IGA/UMA
86
1077
STAY THE NIGHT
ZEDD FT. HAYLEY WILLIAMS
IGA/UMA
LORDE
UMA
87
1071
DRINKING FROM THE BOTTLE
CALVIN HARRIS FT. TINIE TEMPAH
SME
SHEPPARD
CHUGG/MGM
88
1067
SHE’S SO MEAN
MATCHBOX TWENTY
ATL/WMA
MKTO
SME
89
1051
HEY BROTHER
AVICII
UNI/UMA
38
1696
WHAT YOU’VE DONE TO ME
SAMANTHA JADE
SME
901044TEAM
LORDE
UMA
39
1694
THE OTHER SIDE
JASON DERULO
WB/WMA
91
1041
CAN’T BELIEVE IT
FLO RIDA FT. PITBULL
ATL/WMA
40
1680
THRIFT SHOP
MACKLEMORE & RYAN LEWIS FT. WANZ
MACKLEMORE LLC
92
1039
HEY PORSCHE
NELLY
UNI/UMA
32 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
LIBERATION 0.89%
2903
1441
1435
INERTIA 2.12%
3
57
58
EMI 7.56%
The first of four Bruno Mars tracks in our Hot 200 from last year. Locked Out Of Heaven missed out on being #1 by just three points; not that
he’s complaining though - he is the only artist to have two tracks in our top 10.
HOT 200
WMA 19.40%
LABEL
SME 29.12%
ARTIST
UMA 38.98%
#PTS TRACK
Connect to the business of music | TheMusicNetwork.com 33
Exclusive 2013 Aus Tour Partners:
James Blake
Rudimental
Passion Pit
Sampology
Horrorshow
Exclusive Media Partnerships:
Nova FM
Smooth FM
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Sound Alliance
Life Without Andy
The Music Network
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Exclusive Content Partnership:
It has been a busy and exciting
few months for Rdio!
Thanks to all our partners
and supporters.
Team Rdio Australia
MGMT
Empire of the Sun/Goldfields Remix
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Dead Letter Circus
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Exclusive Music Festival Streaming Partners:
Stereosonic
St Jerome’s Laneway Festival
Future Music Festival
Big Day Out
Exclusive Music Streaming Partner:
27th ARIA Awards 2013
rdio.com
CHARTS
LABEL
ARTIST
LABEL
1036
YOU
NATHANIEL WILLEMSE
SME
147
599
LET IT ROLL
FLO RIDA
ATL/WMA
94
1031
BONFIRE HEART
JAMES BLUNT
ATUK/WMA
148
589
BOOM BOOM
JUSTICE CREW
SME
95
1026
DARK HORSE
KATY PERRY
CAP/EMI
149
588
WHITE WALLS
MACKLEMORE & RYAN LEWIS FT. SCHOOLBOY Q
MACKLEMORE LLC
96
1020
BEAUTY & A BEAT
JUSTIN BIEBER FT. NICKI MINAJ
IDJ/UMA
150585 WINGS
BIRDY
ATL/WMA
97
1005
GET UP (RATTLE)
BINGO PLAYERS FT. FAR EAST MOVEMENT
ONELOVE
151
LUPE FIASCO FT. ED SHEERAN
ATL/WMA
999
FALL DOWN
WILL.I.AM FT. MILEY CYRUS
IGA/UMA
152
578
HOW YA DOIN?
LITTLE MIX
SME
996
CHANGE YOUR LIFE
LITTLE MIX
SME
153
577
APPLAUSE
LADY GAGA
IGA/UMA
100
994
IT’S A BEAUTIFUL DAY
MICHAEL BUBLE
WB/WMA
154
576
OF THE NIGHT
BASTILLE
VIR/EMI
101
983
ALIVE
EMPIRE OF THE SUN
CAP/EMI
155
572
NEED U 100%
DUKE DUMONT FT. AME
MOS/UMA
102
961
IT’S TIME
IMAGINE DRAGONS
IGA/UMA
156
566
HAPPENING
CHIDDY BANG
CAP/EMI
103
950
EVERYBODY
JUSTICE CREW
SME
157
563
YOU’RE NOBODY TILL SOMEBODY LOVES YOU
JAMES ARTHUR
SME
104
944
THATPOWER
WILL.I.AM FT. JUSTIN BIEBER
IGA/UMA
158
560
TENNIS COURT
LORDE
UMA
105
942
THINKING ABOUT YOU
CALVIN HARRIS FT. AYAH MARAR
SME
159
545
BORROW MY HEART
TAYLOR HENDERSON
SME
106
929
MARRY ME
JASON DERULO
WB/WMA
SME
IDJ/UMA
109
906
SUIT & TIE
JUSTIN TIMBERLAKE FT. JAY Z
SME
903
161
532
STORY OF MY LIFE
The 20/20 Experience was one of the most successful albums of 2013; it spawned numerous hits and saw Justin Timberlake take back radio
after a bit of time in the comedy and acting world. Suit & Tie with Jay Z slinked its way into our ear-holes and we’re all very happy it did –
even with Jay-Z’s jarring cameo.
163
NOT GIVING IN
164504 RUDE
RUDIMENTAL FT. JOHN NEWMAN & ALEX CLARE
WMUK/WMA
162523 HOLES
520
WE’LL BE COMING BACK
TIMOMATIC
SME
ONE DIRECTION
SME
PASSENGER
INERTIA
CALVIN HARRIS FT. EXAMPLE
SME
MAGIC!
SME
111
889
TIMBER
PITBULL FT. KE$HA
SME
165
503
TURN UP THE LOVE
FAR EAST MOVEMENT FT. COVER DRIVE
IGA/UMA
112
883
WING$
MACKLEMORE & RYAN LEWIS
MACKLEMORE LLC
166
499
DRUNK
ED SHEERAN
ATL/WMA
113
873
RADIOACTIVE
RITA ORA
SME
167
479
DON’T WAKE ME UP
PRINNIE
MERCAU/UMA
114
871
GIRL ON FIRE
ALICIA KEYS
SME
168
479
ALIVE
DAMI IM
SME
115
862
PUT YOUR HANDS UP
MATCHBOX TWENTY
ATL/WMA
169
473
CAN WE DANCE
THE VAMPS
VIR/EMI
468
SAVED IN A BOTTLE
THE POTBELLEEZ
MOS/UMA
467
ARENA
B.O.B FT. CHRIS BROWN & T.I.
ATL/WMA
116
858
22
TAYLOR SWIFT
BIG/UMA
170
117
843
BEST NIGHT
JUSTICE CREW
SME
171
118
837
BRING IT BACK
WILL SPARKS & JOEL FLETCHER
MOS/UMA
828
REST OF MY LIFE
LUDACRIS FT. USHER & DAVID GUETTA
172
460
WARRIOR
HAVANA BROWN
ISLAU/UMA
173
460
THE SPARK
AFROJACK FT. SPREE WILSON
MOS/UMA
174
456
MY SONGS KNOW WHAT YOU DID IN THE DARK (LIGHT EM UP) FALL OUT BOY
120
823
GLOBAL CONCEPTS
ROBERT DELONG
LBR/UMA
804
YOUNG & BEAUTIFUL
LANA DEL REY VS CEDRIC GERVAIS
IGA/UMA
IDJ/UMA
The welcome return of punk pop favourites Fall Out Boy; My Songs Know... had an impressive 2013 run at commercial radio - the electro
flourishes helped to keep this band’s sound cutting edge.
IDJ/UMA
121
175
454
LIVE IT UP
JENNIFER LOPEZ FT. PITBULL
CAP/EMI
122
791
UNDER CONTROL
CALVIN HARRIS
SME
176
444
TRYING NOT TO LOVE YOU
NICKELBACK
RR/WMA
123
787
THE WIRE
HAIM
POL/UMA
177
440
SAFE AND SOUND
CAPITAL CITIES
EMI
124
785
FEEL THE LOVE
RUDIMENTAL
WMUK/WMA
178
436
THIS’LL BE MY YEAR
TRAIN
SME
125
781
SHE WOLF (FALLING TO PIECES)
DAVID GUETTA FT. SIA
VIR/EMI
179
435
YOU’LL BE MINE
HAVANA BROWN
ISLAU/UMA
126
780
TO THE END OF THE EARTH
JESSICA MAUBOY
SME
180
433
HOW I FEEL
FLO RIDA
ATL/WMA
JESSIE J
UMA
181
431
HARLEM
NEW POLITICS
SME
NE-YO
IDJ/UMA
182
422
MY LIFE
50 CENT FT. EMINEM & ADAM LEVINE
IGA/UMA
REDFOO
UMA
127
761
IT’S MY PARTY
128
738
LET ME LOVE YOU
129
736
130
LIBERATION 1.54%
160536 INCREDIBLE
736
(UNTIL YOU LEARN TO LOVE YOURSELF)
183
421
RAISE THE BAR
BONNIE ANDERSON
SME
In a year filled with ridiculousness, Redfoo – one half of LMFAO – certainly took it to a new level: the jackets, the sunglasses, the hair, the
love affair with Australia, the talent show judging duties, and this infectious single driving it all along.
184
418
MILLION VOICES
OTTO KNOWS
UNI/UMA
185
414
PUMPING BLOOD
NO NO NO
WMA
LIKE A DRUM
SME
186409 BERZERK
EMINEM
IGA/UMA
187
THE WANTED
ISLUK/UMA
LET’S GET RIDICULOUS
GUY SEBASTIAN
131
725
AIN’T IT FUN
PARAMORE
ATL/WMA
132
725
UNCONDITIONALLY
KATY PERRY
CAP/EMI
406
WALKS LIKE RIHANNA
It took this name-dropping track to finally break The Wanted at commercial radio in Australia, and although it has the obvious whiff of a
novelty single, their core fanbase can’t have minded too much.
133
718
DEMONS
IMAGINE DRAGONS
IGA/UMA
134
718
WALK OF SHAME
PINK
SME
188
391
SWEET SPOT 2.0
FLO RIDA FT. JENNIFER LOPEZ
ATL/WMA
135
712
HERE’S TO NEVER GROWING UP
AVRIL LAVIGNE
SME
189
391
LOVE DON’T DIE
THE FRAY
SME
136
692
SUPERSOAKER
KINGS OF LEON
SME
190
388
SWEETER THAN FICTION
TAYLOR SWIFT
BIG/UMA
137
681
BED OF CLOUDS
SWIFT K.I.D. FT. GUY SEBASTIAN
NEON/WMA
191
383
DIE YOUNG
KE$HA
SME
138
676
YOU MAKE ME
AVICII
UNI/UMA
192
380
SOLDIER
SAMANTHA JADE
SME
139
666
SPECTRUM
FLORENCE & THE MACHINE
ISLUK/UMA
193
379
SKINNY LOVE
BIRDY
ATL/WMA
140
664
THE MONSTER
EMINEM FT. RIHANNA
IGA/UMA
194
375
CRAZY KIDS
KE$HA FT. WILL.I.AM
SME
141
646
GORILLA
BRUNO MARS
ATL/WMA
195
369
YOUR BODY IS A WEAPON
THE WOMBATS
WB/WMA
142
643
LANGUAGE
143629 WATERFALLS
PORTER ROBINSON
HUS/UMA
196
358
BATTLESHIPS
BERNARD FANNING
UMA
TIMOMATIC
SME
197
356
ALL OF ME
JOHN LEGEND
COL/SME
144624 C’MON
KE$HA
SME
198
354
WORK BITCH
BRITNEY SPEARS
SME
145
622
WE COME RUNNING
YOUNGBLOOD HAWKE
UNI/UMA
199
343
ACT YOUR AGE
BLISS N ESO
ILL/UMA
146
615
LAURA PALMER
BASTILLE
VIR/EMI
200
343
ADDICTED TO YOU
AVICII
UNI/UMA
36 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
LIBERATION 2.2%
GUY SEBASTIAN
RIHANNA FT. DAVID GUETTA
INERTIA 8.29%
GET ALONG
RIGHT NOW
EMI 8.78%
926
921
X-Factor spawned another set of ready-made pop stars in 2013; we all know Dami Im won, but it’s the runner-up Taylor Henderson who
enjoyed the most success. Commercial radio was all over his single Borrow My Heart.
HOT 40
WMA 15.12%
107
108
119
INERTIA 3.72%
OLD SCHOOL LOVE
98
2013 will always be remembered as the year that the Melbourne sound broke Australian radio. Thanks to NOVA, Ministry of Sound and Will
Sparks & Joel Fletcher, kids in bedrooms in around Australia are trying to create the next EDM anthem. These guys are killing dance floors all
over the world now - and it’s no surprise.
EMI 6.83%
580
99
110
WMA 19.49%
#PTS TRACK
SME 29.39%
SME 28.30%
ARTIST
93
UMA 33.05%
#PTS TRACK
UMA 37.15%
HOT 100
Connect to the business of music | TheMusicNetwork.com 37
THE LABELS
UNIVERSAL
George Ash – President, Universal Music Asia Pacific,
talks about the label’s big year.
A
s with many of the labels featured within
In your opinion, did anything from UMA in 2013 fly
these pages, Universal Music Australia had
under the radar that should have been a bigger hit?
an interesting year, filled with upheaval,
Yes, of course but we also know that success is not
a shifting playing field, and tremendous
always immediate and that it takes careful planning
success. The introduction of EMI into
and time to grow, develop and break new artists. We
the fold furthered their market dominance, as well
are committed to creating careers for our artists and
as bolstering their already-impressive local roster,
we never give up on them.
HOT 200
38.98%
and hefty back catalogue. George Ash – President of
Universal Music Asia Pacific – chats to TMN about the
What changes do you foresee for the Australian music
year that was.
industry in 2014?
I am convinced we will have more global action for acts
This year saw a lot of changes in the Australian
from our part of the world, there will be more diversity
industry, most notably EMI coming under the UMA
in the way fans interact with music, I can see challenges
umbrella. How has that transition been, and how
in certain genres as the platforms evolve and catch up
independently does EMI operate nowadays?
with consumers, but overall I see a huge opportunity for
The transition has gone very smoothly and I’m really
Australian artists to break on a global scale.
pleased with how the company is operating. There has
been considerable re-investment in EMI as a standalone
Universal houses and distributes a number of local and
international labels. With schedules, are there attempts
“WE ARE COMMITTED
TO CREATING CAREERS
FOR OUR ARTISTS AND
WE NEVER GIVE UP ON
THEM.”
to avoid major release clashes, or is it more ‘every man
for themselves’ in that regard?
As labels they all have the best of all worlds: on the
one hand all labels compete but on the other they have
the benefit of all being in a family of highly successful
individuals who help each other. It is a very competitive
artist-focused and creative environment. Each label
makes its own decisions on how and when to release and
those decisions are made with the artists.
How important do you consider radio play in regards
label and the focus is 100% on artists and creativity.
to breaking artists/singles?
John O’Donnell is heading the label and his brilliant
Everything is important, radio is one of the platforms
leadership is creating real momentum for EMI’s acts.
of choice by music fans and it reaches a large part of
the population which in turn can amplify an artist’s
Which events and achievements within UMA during
audience. It is a key part of many acts’ success.
2013 are you most proud of? Did the success of any
release in particular take you by surprise?
What are some of the big releases on the cards for UMA
It was a very exciting year, we helped build new
in 2014?
platforms for music to find an audience, we invested
2014 is shaping up nicely, we have some very exciting
heavily in Australian and New Zealand labels and artists,
releases, particularly from our Australian roster: Megan
and focused our efforts firmly on helping our acts to
Washington, Angus & Julia Stone, Matt Corby, 360, The
break globally. I think if the industry can be proud of
Preatures, Papa vs Pretty, Harrison Craig, Andy Bull, The
anything it is that it is competing and having global
McClymonts, Emma Birdsall, The Aston Shuffle, Broods,
success on every level of the music business, this is
Hilltop Hoods, Daniel Johns and Dustin Tebutt.
exciting and critical for the local creative community to
Internationally, we have Aloe Blacc, Beck, American
Blurred Lines was the
eighth most-heard
single at commercial
radio in 2013, a
grow, we have to support our acts around the world. That
Authors, The Vamps, Banks, Elbow, Sky Ferreira,
is probably the thing that is making me the most proud,
Florence + The Machine, Kendrick Lamar, Mariah Carey,
the airwaves for both
the fact that all the labels in our world are succeeding on
Sam Smith, SOL3 MIO, Schiller, Rihanna, Kayne West...
Thicke and Pharrell
this level.
and that’s just to name a few!
38 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
surprising return to
Williams.
Connect to the business of music | TheMusicNetwork.com 39
THE LABELS
SONY
Denis Handlin, CEO of Sony Music Entertainment, talks about the
state of play, and what’s next for SME.
H
andlin and SME have had an impressive
What do you foresee for SME in 2014? Will there be any
year, as the statistics show. On top of
major changes or just business as usual?
their commercial radio success, both Daft
The industry is in a transformative revolution, with
Punk’s Random Access Memories and One
the market changing sales and consumption patterns
Direction’s Midnight Memories set iTunes
constantly. The industry has had to face the fact that
pre-order records in Australia.
there has been more radical change in the last two
This October will see the 30th anniversary of Handlin
years than in the last 20 years. Customers are more
heading up Sony Music Australia – we caught up with
demanding and they have never had as much power as
him to discuss SME’s 2013, and to look forward.
they have today. The industry has revolutionised and
HOT 200
29.75%
very much leads the way amongst content industries in
Sony had an impressive year at commercial radio in
new business models with over 500 digital retail services
2013, especially in regards to your local roster. Was there
licensed worldwide featuring 30 million tracks for
a change in tact, or just a number of great releases?
consumers to enjoy.
Both locally and internationally, Sony Music had a very
strong year with new and established artists. Here in
format consumers buy their music – it will always
Australia, we continued to have a very strong year and
be about creating the hits, the stars and the stories
we are delighted with the strong presence of our local
artists on both the airplay and sales charts - including
Jessica Mauboy, Guy Sebastian, Timomatic, Justice
Crew, Troy Cassar-Daley and Adam Harvey, Samantha
Jade, Tonight Alive, Karnivool, Rufus, Dami Im, Taylor
Henderson, Nathaniel Willemse and Human Nature.
We have also broken a number of exciting
“OUR CORE FOCUS
STILL NEEDS TO BE
DEVELOPING HITS”
international artists including John Legend, MKTO,
supported by creative marketing. In my 44 years in the
Magic!, Miley Cyrus, Karmin, Olly Murs and charted
business, I cannot recall a more exciting and better time
multiple tracks from Pink, Calvin Harris and Miley Cyrus
to be creating opportunities and developing artists and
to name a few.
new music.
The success of our local artists is also reflected in the
During your time working with majors, what have been
number 1 chart positions. Since August 2012, the only
the biggest changes in how A&R teams operate within
Australian artists to achieve a number 1 single were from
the industry?
Sony Music - Justice Crew, Guy Sebastian, Samantha
As the global head of Sony Music, Doug Morris, said -
Jade, Dami Im and Taylor Henderson.
our core focus still needs to be developing hits, that’s the
Also, it was great to see a number of these artists being
only constant amidst all the change. That is the primary
recognised with ARIA awards in 2013, especially Jessica
role of A&R and in my view it is the toughest job in the
Mauboy and Guy Sebastian who were long overdue for
industry. The artists they find and the tracks created
this recognition.
must be relevant and compelling and world class.
Speaking of Aussie artists, your local roster seems
Where things have changed is in the use of online to
rather skewed towards pop – is this intentional?
find talent and the use of online and social media to seed
Whilst we are very prominent at radio with our pop
talent to the public to build the initial awareness.
artists, our roster covers a broad range of artists and
What local SME artists do you suggest TMN readers
repertoire. We were delighted to have debuted Rufus and
keep an ear out for?
Karnivool albums at number 1 and Tonight Alive‘s album
Readers should definitely keep an ear out for Gang Of
debut in the Top 5 on the ARIA chart as well as each of
Youths. Their self released single Evangelists has earned
these groups securing releases in the UK and US in 2013.
them critical praise everywhere from triple j, to the NME
We are also incredibly excited about the new artists we
are launching in 2014 – Jackie Onassis, Miracle, Way Of
The Eagle and Gang Of Youths, as well as the acts we are
40 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
At the base of the triangle however - despite what
and Radio One in the UK and alternative radio stations
This arresting track was
the third most-heard
song on commercial
radio, narrowly beating
Pink’s Just Give Me A
in the US.
Also, keep an eye on Miracle and Jackie Onassis, two of
releasing through our partnership with the Wonderlick
the most exciting new hip hop acts to emerge in the last
label – The Paper Kites and Jackson McLaren.
twelve months.
Reason as SME’s most
successful song at
radio in 2013.
Connect to the business of music | TheMusicNetwork.com 41
THE LABELS
WARNER
Warner Music had an impressive twelve months, and with an exciting new
appointment, it looks like their 2014 will be even stronger.
W
hen looking back on the disparate
both Gorillaz and Blur records), David Guetta, Kimbra,
musical trends that were forced
Foals, Green Day, and The Black Keys – all of which
upon us in 2013 – EDM blasting its
bodes well for the company’s not-so-distant future.
way on commercial radio playlists
Poston is also more-than-aware of the weight of
and primetime advertisements
his new role, which also bodes well for the company’s
alike; a pair of slinky disco throwbacks both featuring
future. “These are two of the most important labels in
a pop star who hadn’t been on the radio for seven
the history of popular music,” he tells TMN. “There’s an
years; the world’s biggest female pop stars all releasing
honour and a responsibility and a gravitas that comes
indulgent-yet-thrilling concept albums – it would be
with that, both in terms of working for the labels and
unfairly easy to overlook the phenomenal success that
in signing new talent to those labels. I couldn’t be more
Bruno Mars enjoyed this year, both at commercial radio,
ready for all of that.
and on the sales charts. The 28-year-old Hawaiian artist
both Parlophone and Warner Bros., and with the
including the undeniable Locked Out Of Heaven, which
offering we have to artists – in terms of a top-notch
“WITHOUT ARTISTS WE ARE NOTHING. ARTISTS
MAKE THE WORLD A BETTER PLACE.”
missed out on being the most-heard song at Australian
team with intellect, intuition and sheer passion for
radio by the narrowest of margins, sitting at #2, and
music – is that we’re a very attractive proposition to the
selling over 350,000 copies in the process. When I Was
artist community. We want to take new and different
Your Man was the sixth most-heard track at commercial
approaches in how we develop artists and how we build
radio, (selling 4xPlatinum), while the album that houses
fanbases. I like to change things up and there’s no better
these hits – the aptly-titled Unorthodox Jukebox – sold
time to test and try new things. This is something I’ve
over 270,000 copies in Australia – no mean feat in
said a lot in my past life and I guess it’s a mantra of sorts,
today’s marketplace.
but it’s all about art vs. commerce. With that, I mean it’s
about finding the right point on the dial. Without artists
we are nothing. Artists make the world a better place.
hitters at radio this year were Swedish synth-pop duo
“We have to accept that making money is not a dirty
Icona Pop – whose I Love It hit commercial radio last
word, both for the artists and for the music companies
year, almost twelve months after its initial release, due
who invest in that process. The artists should be paid
its appearance during an episode of Girls – and Jason
for their art, and the companies need to make a return
Derulo, who had a pair of radio hits with The Other Side,
on that investment so we can keep investing, employing,
and Talk Dirty.
taking educated risks so that we can find the next Prince,
Warner started 2014 off with the news that they
had secured Mark Poston as Managing Director of
The man who
announces his own
arrival on most of his
tracks had another
banner year at radio,
slotting two hit singles
into the Hot 100 - The
Other Side at #39,
and Talk Dirty, which
narrowly missed the 50,
coming in as the 52nd
most-heard track.
the next Chris Martin or the next Kate Bush.
“And while we’re talking about it, perhaps the next
both Parlophone Australia and Warner Bros. Records
David Geffen or Richard Russell. That’s the real Holy
Australia – the local branches of two of the most
Grail stuff right there.”
significant labels in recorded musical history – the
19.40%
“What I hope is that with the musical history of
landed three songs in the top thirty of the TMN Hot 200,
Aside from Mars, Warner Music Australia’s other big-
HOT 200
Poston is right to value the behind-the-scenes teams
former of which Warner Music picked up globally in
that make or break artists. His time at WMA will see him
2013 for £487 million ($765 million in February, when
again teamed up with MD Tony Harlow, as well as with
this track was first
the deal was struck) after the sale and divestment of
Mardi Caught, MD of Atlantic Records, for the first time.
released, a sync on
EMI.
“It’s a dream to work with two of the best in the business;
Poston announced his appointment exclusively
Almost a year after
the zeitgeist-y Girls
it makes Warner a really exciting destination for artists.
shot it to international
through TMN, divulging that 2014 will bring new
We’re putting together one of the best teams in the
prominence; it was the
releases from Kylie Minogue, Coldplay, Chromeo, Lily
business that will work across both labels and we’ll also
Allen, Bat For Lashes, Damon Albarn (plus rumours of
be supported by the local Warner company.”
42 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
25th most-heard at
Australian radio in 2013.
Connect to the business of music | TheMusicNetwork.com 43
THE LABELS
MUSHROOM
During its 40th year of operations, Mushroom Group
certainly didn’t rest on their laurels.
2
013 marked the 40th year of operations for
“I feel like I’ve got a new lease on life. Look, a lot of
the mighty Mushroom Group, but the music
people can do things for a long time, but you go through
company’s year-long celebrations were not
periods where you are a bit… I feel rejuvenated.”
purely an exercise in looking back, but also
in pointing the way forward, with the group’s
As for 2014, Mushroom Group certainly won’t be
resting on their laurels, with a number of key releases
expansion into new areas, a number of fresh acquisitions,
due – Temper Trap’s third, DZ Deathrays’ second album,
a new logo, and a seemingly renewed sense of spirit –
Vance Joy’s debut, and Dan Sultan’s first new album for
plus a slew of successful records.
three years are among the releases – plus a continued
“2013, being the 40th year of the group’s existence
was going to be a time that we look back at some of the
“We are definitely doing a lot more in a number of
Asian regions then we have in the past,” says Matt, “but
Matt Gudinski explains. “It was also a time where we
there are further plans for Mushroom to have a much
started to set the company up to move forward in a
greater presence across major markets like the US and
different way and to evolve and come out of its shell a
the UK.
the industry, and more importantly the public, what
0.89%
push into overseas markets.
great successes in the development of the company,”
little bit more. The key plan was to highlight to a lot of
HOT 200
“Where the music industry, and particularly the
recorded industry sits at the moment, the ability to
“YOU’LL FIND A LOT MORE AUSTRALIAN LABELS
FINDING SUCCESS ON AN INTERNATIONAL LEVEL.”
Mushroom’s involved in, and I think we achieved that
do that is there. There’s a chance for a local label to
fairly well throughout 2013.”
succeed with artists on an international level – certainly
Over the past couple of years, the younger Gudinski
you didn’t have digital or streaming channels – such
group, “dealing with all the different management issues
as Future Classic, and what they did with Flume, quite
and the growth of all the businesses we are involved
independently. I think you’ll find a lot more Australian
in,” he explains. “That’s obviously been a big change
labels finding success on an international level.”
from three or four years ago, when I was very focused
Not surprisingly, Michael Gudinski echoes his son’s
on a number of my own businesses, which are now still
sentiments – or vice versa: Michael has often spoken of
running within the group.”
his wish to achieve a US number one record. Ironically,
Although 2013 was a busy year for the Mushroom
as his chances of that elusive #1 seem to be increasing,
Group in regards to the live industry – Frontier toured
his attitude to US success has taken on a more
Springsteen, before announcing a second run of dates
philosophical slant.
for 2014, as well as locking in the Rolling Stones tour
“Look, it’s something that will come when we’ve got
(“we couldn’t have finished the year off on a higher
the right record at the right time. A bit of good luck and
note”), while the group took over the Future Music
timing. It’s something that I was perhaps over-obsessed
Festival, as well as boutique festival Sugar Mountain –
with, now I’m not thinking about it as much. There are a
the group’s various labels continued to release a run of
number of great Australian artists; between Gotye, and
successful records.
Lorde, and Tame Impala, and a bunch of others.
“In the last 12-18 months, we’ve probably been the
There’s a much bigger focus on and interest in
most proactive we’ve been for a number of years, so it’s
Australian artists, and now New Zealand - the most
just cracked the top
definitely not only an exciting time, but a very manic and
there’s ever been. There have been a couple of times
twenty in the UK; the
busy time around the Mushroom Group, and it doesn’t
we’ve been close [to a US #1] but if one or two of our acts
perfect start to his
seem to be letting up anytime soon,” says Matt.
are going to be likely to help and see that Aussie Invasion
musical career. The
actually happen - I’d be there to help anyone, whether it’s
song was also the 23rd
“Vance [Joy] has just hit Top 40 in England [with his
44 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
a lot more of a chance than five or six years ago, when
has slid into overseeing the day-to-day operations of the
single Riptide, which has since entered the UK top 20],
an act I was involved in or not.”
adds Michael. “Most of the group has had a great year.
by NATHAN JOLLY
Vance’s Riptide has
most-heard track at
Australian radio.
Connect to the business of music | TheMusicNetwork.com 45
THE LABELS
EMI
SHOCK
2013 was a year of change for EMI Music,
both locally and internationally.
Stone Magazine Australia and EMI, was announced as
The legendary independent turned 25 last year;
we take a look at their milestone year.
when he took over from Gruppetta. May
HOT 200
Managing Director. UMA President George Ash made the
was more than experienced after stints with
announcement.
Create/Control, Dew Process and EMI. At the
“In his new position, O’Donnell, one of Australia’s most
highly regarded music executives, will be responsible for
7.56%
time Gruppetta told press, “I’ve enjoyed eight
amazing years at Shock and I am happy to be
the EMI, Capitol and Virgin labels, as well as overseeing
leaving with the role in safe hands.”
the creative direction for their stellar roster of Australian
May said in a statement the label, “is part of
artists.”
Australia’s musical heritage, it’s a great label
“It was impossible to resist the opportunity to return
with an impressive history and an exciting
to EMI and oversee a full-service music company with a
future.”
vision for the future,” O’Donnell said in the statement.
The restructure then saw Remote Control
“EMI is a label with brilliant international and local
Records’ Maya Janeska and Wunderkind’s
artists and the great staff at the heart of the Australian
Jacqui Wilson join as Label Managers.
company have defined themselves as creative, innovative
Mushroom’s Belinda Fitzsimmons was
music professionals.”
brought on as Head Of Promotions while
EMI is still the home of lauded acts like Katy Perry,
Helise Andreoli was promoted to Promotions
David Guetta, Birds of Tokyo, Iron Maiden and Coldplay
Manager.
and still takes the cake for the major with the richest
2
history. Not only did the company pioneer the now
standardised ‘360 deal’, the Electric & Musical Industries
The following months saw Shock sign US
Bastille’s Pompeii was
one of a number of
013 was an historic year for EMI Music.
has been home to the Beatles, the Rolling Stones, David
alternative-leaning
The overseas collapse saw them fold into
Bowie, Pink Floyd and Queen. What’s more, in 1979 the
songs to crossover and
another multi-national, the monolithic
label and their employee, researcher Godfrey Hounsfield,
gain serious traction
Universal Music Group. Some blamed their
shared the Nobel Prize for medicine after he invented
on commercial radio
cumbersome uptake of the digital age –
the CT Scan with funding from the Beatles’ success in the
– becoming the ninth
they were the last of the four majors to license tracks to
MySpace but later the first company to partner with a
‘60s.
most-heard track
in 2013 – while also
S
bands The Almost, August Burns Red and
Real Friends as well as Australian acts The
hock Records celebrated its 25th
band broke an ARIA Chart record when their
Seabellies, Mind Over Matter, Caulfield, Young
year in 2013, and while indies
sophomore LP Hate debuted at #35 in 2012
Lions and Bloods. May’s tenure saw the label
were having a banner year with
and was nominated for an ARIA last year.
align itself with overseas label services and
acts like Flume highlighting the
work of Future Classic and Russell
While 2013 didn’t offer much chart
record companies. In June, Shock partnered
success for Shock, an independent’s market
with UK label Quarter 4 to make use of Shock’s
Morris’ Sharkmouth outselling Robin Thicke
share and chart successes are sometimes
in-house manufacturing, distribution, licensing
and giving recognition to Fanfare Records,
underreported. According to the American
and sync abilities while nurturing their focus
streaming service and the first to offer DRM-free music
to the local industry after audible whispers in 2011, but
reaching #4 on the
its quarter-century as Australia’s largest
Association of Independent Music, Nielsen
on compilations. Shock’s love for the physical
– some say it was the ongoing monetary and roster
it’s far from shocking. EMI the music label was formed
ARIA Singles chart.
independent label was a dichotomous one.
SoundScan reports don’t consider direct deals
format and preemptive nature in keeping up
losses after a troublesome stint under Guy Hands and his
in 1931 when Britain’s Columbia Graphophone Company
that independent labels have outside of their
with digital breakthroughs has co-existed as
private-equity group Terra Firma.
and the Gramophone Company (HMV) merged. In the
City & Colour, Parkway Drive and Interpol in
distributor.
harmoniously as it does in the current market.
‘80s Polygram acquired independents Island and A&M
the past – and playing integral roles in getting
watched the bulk of the twenty staffers who were
before a merge with MCA in the ‘90s formed Universal.
The Offspring and Bring Me The Horizon to
with iTunes and Amazon (and other partners)
retrenched in January find new homes within the music
In fact, rumours of the EMI merger had been circling as
#1 – the Melbourne-based label grew out of
but have a distributor for physical or parts of
industry and those who stayed on were delegated new
far back as 2006 when EMI planned to buy out Warner
a love for the underdog. Shock was also the
their digital business, still have their entire
and the signing of UK music management and
roles either as part of Universal Music or under the
Music Group. Warner countered the stratagem with a
front runner in digital progression, as the first
market share attributed by Nielsen to the
label services company Kartel in September,
independently run EMI at UMA’s Millers Point office.
buyout offer and later, Terra Firma’s acquisition in 2007
record company to market music online in ’94,
label’s distributor.”
taking on To Kill A King and Filthy Boy.
EMI Australasia Chairman Mark Poston stood down in
and Guy Hands’ loss of EMI in 2011 added fuel to the fire.
offering free MP3 single downloads three years
Ends were well and truly tied by mid-year; Australia
EMI Australia’s $1.9 million merger was disconcerting
Helping to grow artists like Crystal Castles,
“Independent labels that have direct deals
Another partnership saw the teaming with
Australia’s Rabble Records in August
for a further focus on fostering local talent,
Granted, Shock’s territory is Australia,
2014 will see more structural changes
but its current major partners like Cooking
for the Shock Entertainment staple: May
Vinyl, Vagrant, Sumerian and Rough Trade
departed in December to live in the UK with
after the launch of Permanent Records in
are based in the UK or US. But it wasn’t these
his wife, Andreoli ended her two-year stint
December 2011 for local indie artists and heavy
long-sighted concerns that were making press
the same month, and the label are yet to name
music imprint Halfcut in June 2012, the label
on the home front. When Harvey and General
replacements. However with upcoming releases
watched Stu Harvey’s brainchild rub shoulders
Manager Leigh Gruppetta resigned in early
from Jersey rockers The Gaslight Anthem,
other act or song this
with chart heavyweights. As Shock’s former
2013, Shock underwent a major reshuffle.
London band/filmmaking collective Breton
With a strong roster, a strong heritage catalogue, plus
year. It’s great to see an
Senior International Label Manager, Harvey
Gruppetta ended his eight-year tenure to
and UK producer Davidge just this month, it’s
Director Tony Harlow, who ran EMI from 1997-2002.
a ‘two heads are better than one’ advantage at HQ, EMI’s
Australian claim pole
signed on releases from Gallows, Heroes For
expand the UK’s Cooking Vinyl label in
clear Shock Records are as uncompromisingly
One month after Poston quit EMI, record exec John
story remains compelling.
Hire, While She Sleeps and Australia’s own
Melbourne with Harvey also at the helm.
independent and forward-thinking as ever.
January to undertake a Gap Year of sorts.
Earlier this month he told TMN he “visited about 15
countries. I got married. I learned how to meditate. I did
Perry took the top spot on ARIA’s End Of Year Top
a lot of exercise and did a bunch of gigs.”
100 Singles Chart with her 7x Platinum single Roar,
Poston unveiled his new position as Managing Director
of Parlophone Australia and as Managing Director of
Warner Bros. Records Australia. The move sees him
reunite with Warner Music Australasia Managing
O’Donnell, who has had past stints at Sony, Rolling
46 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
later.
Any day-to-day upset caused by EMI’s fold into
2013 was no less progressive for Shock;
Universal didn’t show up on the charts last year. Katy
Birds Of Tokyo enjoyed
while Perth’s Birds Of Tokyo were the most played on
more airplay for their
Australian radio in 2013 with their 3x Platinum single
track Lanterns then any
Lanterns.
by POPPY REID
position at commercial
radio.
Thy Art Is Murder. The Sydney deathcore
Craig May kicked off the reshuffle last March
by POPPY REID
Connect to the business of music | TheMusicNetwork.com 47
THE LABELS
INERTIA
MGM
Managing Director Colin Daniels chats about Inertia’s big year, and
rejoices that the dark days of the early 2000s are over.
There has never been a better time for independent companies in
the Australian landscape, as MGM’s year showcases nicely.
HOT 200
2.12%
Surprisingly, it was a
sync placement during
a pivotal scene on
I
nertia released a number of great – and wildly
American show Hart Of
Dixie that first brought
The dark ages of the early 2000s seem to be over.
this stomping track to
the attention of the
successful – records this year. What have been
Hooray! It was a horrible time with mass layoffs at
some of your 2013 highlights at the label? Inertia
the majors and many indies closing down. There is a
wider public. American
had its best year ever. Working with Kobalt to
renewed energy in the industry - especially the indies
radio picked up on the
deliver Nick Cave’s first number 1 album was a huge
– as we learn to deal with the rapidly changing market.
buzz, Australia followed
highlight! We also had a number 1 album with Queens
Young people want to work in the industry again. And
suit, and here we are.
Of The Stone Age, with Remote Control, as well as top
they have a fresh approach. I am learning more now than
10 albums from Passenger, The Lumineers, Atoms For
I ever have.
Peace, The Cat Empire, The National, Vampire Weekend,
Adele’s success over the past few years must have been a
Horrorshow and Seth Sentry. There were a number of
boon. How was it watching that develop? Was there any
weeks where we had 11 albums in the Top 100.
point where demand outstripped supply?
distribution records hit the high reaches of
of a dent in the wider world of
The Jezabels (The Man Is Dead) ticked over to
the charts in 2014. It’s certainly an interesting
music, and the channels through
sales of 70,000+ as well this year, while on the
and intelligent new model, and it wouldn’t be
which music is purchased
albums front Karnivool scored a Gold record
surprising if similar crowd-funding platforms
and enjoyed continue to shift,
with Themata.
adopt a similar system in the near future.
The Drones’ I Sea Seeweed has been
from the limited distribution option that
universally acclaimed – as is the way with
commented, “I am really pleased that Pozible
now sold 25,000,000 albums worldwide. No-one thought
they once did (as least in comparison to
Drones records – and will likely notch up
and MGM, two independent Australian
that was still possible!
the majors, whose stock often dominated
Gold sales this year, while Emma Louise
enterprises, have teamed up to create a new
the chain retailers). As a result, it is not
followed up her Gold-certified EP Full Hearts
initiative that can provide a funding and
uncommon to find the likes of MGM, Shock
& Empty Rooms, with her debut album Vs.
distribution solution which enhances the
and Inertia releasing a steady stream of
Heart Vs. Head.
options available to Australian artists and
After all the TV pop we’ve all had to endure, Adele was a
breath of fresh air for the fans and the industry. She has
Traks celebrated its 15th year as a label by delivering
some of the best albums they have ever released - and
A career highlight for me was signing Passenger for
Past releases from San Cisco (Awkward) and
independent distributors no longer suffer
I am very proud of our team and very thankful to the
incredible labels we work with around the world. Elefant
threw a few great parties as well!
A
s major labels start to make less
We never ran out of stock of Adele, even when we were
shipping 35,000 a week. At one stage we had to fill the
the world. We had a number 1 single in 15 countries and
lunch room and hallways with stock!
have sold over 1 million albums so far. Let Her Go is # 5
You’re also on the Merlin board. What does this entail?
A number one record
in fifteen countries,
hugely commercially-successful records. 2013
MGM’s Founder and CEO Sebastian Chase
MGM started 2014 off with a bang, with an
supports their efforts to build sustainable
this week in the Billboard chart. Passenger is the hardest
I have been on the Merlin board for over four years
was a great year for MGM, with The Drones,
interesting distribution deal – funnelled via
working artist I have ever worked with. Even after all the
now. I am very passionate about our charter. No digital
with over one million
Karnivool, Emma Louise and Sheppard among
their legendary imprint Waterfront Records –
worldwide success, he still busks daily when on tour.
service has successfully launched without the indies on
sales - not bad for a
their local big-hitters this year.
in which they will release any records funded
popular Australians, John Butler and The
You’ve worked across a number of labels around the
board from the beginning. It surprises me that some new
songwriter who was
Sheppard were the big surprise this year,
through Pozible, making these albums eligible
Jezabels, should see the company notch up two
busking the streets for
with their single Let Me Go becoming a huge
for the ARIA and AIR charts. As many of
more Platinum records very shortly – if not by
change a few years
commercial radio success, propelling sales of
these records are basically funded by what are
the time you read this.
their EP to Platinum sales.
pre-sales, this should see a number of MGM-
by VICTORIA LUCAS
world. How has the internal label landscape changed
services still treat indies as second class citizens. We
since the early ‘90s – aside from the obvious shift online
must ensure a level playing field.
and away from physical?
48 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
by VICTORIA LUCAS
ago.
careers.”
On top of this, early 2014 releases from
Connect to the business of music | TheMusicNetwork.com 49
MIGUEL
I
M
W
G
E
U
L
Words by Poppy Reid Photo by Ken Leanfore
hen Miguel walks into a hotel room at The Star
and vulnerable place. I cut straight to the chase, even when it’s about
casino he looks fresh (partly due to the hint of
picking up on a girl [...] I say exactly what I’m feeling and I think that’s
shimmery makeup catching the light on his temples)
at the very least respectable. Even if you don’t like it, or even if a woman
and placid. Perhaps it was the LA native’s brimming
didn’t like that, I think she can respect that.”
industry showcase at the casino’s Marquee nightclub
In reality, Miguel’s honest resolve is inspired by the past. He lists
the night prior, where the skirts and the button-ups show immeasurable
‘60s R’n’B acts like Marvin Gaye, lyricists like Prince and of course,
skin and a table reservation will set you back $10,000; however it’s
Michael Jackson, as his influences. Unsurprisingly, all these of the
more likely he’s humbled by his Mariah Carey collaboration #Beautiful.
aforementioned leave women feeling mesmerised not objectified.
The single shipped one million copies as of August, charted at #6 on the
“My favourite R’n’B bands and R’n’B musicians had this transparency
ARIA Chart and most impressively, marked his third single to do so.
that allowed them to do exactly what they thought,” he says, his gold
The song succeeded 2012’s Sure Thing – a track he wrote when selling
chain swaying. “I think we’ve lost familiarity with that kind of music so
maybe that’s why it may feel like ‘wait, how is it that he can he tell me
“MARKETING MAKES A BIG
DIFFERENCE IN THIS GAME, IT
IS THE VISUAL AGE”
that pussy’s mine and women can listen to it and enjoy it and it feels
romantic?’ Because I’m not saying it in a brash way. I don’t know how
to explain it, but there’s a transparency. It’s not said completely out of
bravado because it’s rooted in vulnerability.
“I‘m not going to pretend like I’m trying to be cool with you when I’m
really trying to get your pants off, and then when you don’t take them
off I get all offended - I’m not going to do that.
extended car warranties in LA - and 2013’s seductive siren song, Adorn.
“Art and culture are supposed to reflect the time period and what’s
“I’ve never been the clever dude to game my way in, I’ve just never
been that dude. I’m not a slick dude. I’ve just found that honesty is what
supposed to be going on.” Miguel props himself against two couch
works best for me. I think really I’m a good guy - it’s a nice balance.”
cushions as he takes on the awkward task of explaining his place in
It hasn’t been an easy ride for this almond-eyed straight talker.
music’s current landscape. “In this day and age, information is the new
His debut album All I Want Is You remained dormant for two years
hot commodity and attention is the new hot commodity. The way I
and struggled to reach ears when it did see the light of day, due to
reflect the times, is that my music isn’t one thing, in that it incorporates
legal hassles with his former production company. Not to mention
all of my influences.”
the record-company expenditures from Jive Records offsetting his
His moniker Miguel is obviously a mononym; born to a Mexican
father and African American mother, Miguel Jontel Pimentel is a
moderate sales. Jive’s sub-label Bystorm Entertainment endeavoured
to market him as an R’n’B act, which Miguel believes contributed to his
reaction to the classic rock, blues and hip hop he continues to grow
against. His neo-soul amalgam gently requests women drop to their
knees whilst instilling chivalry - no mean feat for an artist boxed into a
genre pregnant with objectification and unintelligent sexual innuendo.
At 27, Miguel has already been scorned by the music industry,
released two full-lengths and five EPs (including a soon-to-be four
volume EP series), injured a woman at the Billboard Awards, and
“FREE MUSIC IS THE STANDARD
NOW. AN ARTIST ALMOST HAS
TO PUT OUT FREE MUSIC”
made headlines on celebrity gossip websites for a drunk-driving arrest
the same month #Beautiful hit the million mark. Yet it seems a man
scorned is a man determined; Miguel has a lot to prove and with the
“I think at the time people had this perception of me as being a fly-
genius of Sam Cooke’s impromptu trill and a resolve to wear his heart
by-night artist and that’s why I think my first album was overlooked so
on his sleeve, his new wave of R’n’B is in direct rebuttal to the current
much,” he muses. “Marketing makes a big difference in this game, it is
grasp of the genre that he refers to as “washed out and repetitive”.
the visual age.”
“You can see it coming from a mile away. It’s not interesting; that’s
our perception of R’n’B and that’s why it’s become a lost thing.”
Miguel may not be the only R’n’B anomaly to tinker with the formula,
50 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
stunted green years.
Today, he’s assertive and cautious of his projection. After the
interview, TMN asked Miguel if he wouldn’t mind conducting the
photo-shoot in the bedroom of the hotel suite - he declined and said he
but if his female fans can listen to his music and still call themselves
wanted to avoid any R’n’B clichés. Miguel has been exercising heavy
feminists, then he’s at the very least found a balance. “When I am
control over his public image for over a year now; before the release
discussing love or romance or sex it’s normally from a very honest
of Kaleidoscope Dream in September 2012, he self-released his three
Connect to the business of music | TheMusicNetwork.com 51
MIGUEL CONTINUED
BANDING TOGETHER
micro EP series Art Dealer Chic. The three volumes
two realities, and that neither one is the actual
MULTI-SCREEN
MARKETING
WITH MCN
comprise nine songs and just about 30 minutes of
music, which he created over a period of three months.
The project saw Miguel producing, shooting music
reality, has served me very well: being a point
of translation between those conversations is
really important.
videos and even painting the dreams that inspired
What common mistakes do you see in music/
it. “Logically it was like, ‘How do I remain relevant
Tori Benzie, MCN’s Group
brand team-ups?
and how do I tread water? Or at least stay afloat in
Manager – Multiply
The biggest mistake is that people think
these tides as people are releasing loads and loads
Integration, talks about
someone will care. Just because you gave away
of music, without sacrificing my convictions that my
the intersection between
a song or whatever, why would anyone care
music is valuable?’” Released through his label of
music TV, advertising, and
about that? I think it’s more important from
the same name, Art Dealer Chic forced the industry
multiple platforms.
the brand side – all we need to do is hang
and fans alike to stand up and take notice. Its genre-
around this piece of music or this artist and
crossing eclecticism faded the R’n’B epithet and built
Popular music and
we’ll become cool or relevant, and I think just
anticipation for Kaleidoscope Dream, which debuted at
marketing seems to be at
sitting on the sidelines doesn’t work – which
#3 on the Billboard 200 and sold more than 322,000
its strongest intersection
makes perfect sense when you articulate it.
copies in the US, as of February (Neilsen SoundScan).
point to date – what do
“Free music is the standard now. An artist almost
Another mistake is just one-off
you put this down to?
conversations. The best bits of work, the best
has to put out free music and I’m all about that.
An increasingly cluttered
partnerships that have been built, have been
But at the same time an artist has to value music
market is resulting
long-term, they leverage a common truth for
for what it’s supposed to be and that’s art,” he says
in brands and bands
both the artist and the brand, and it’s a genuine
with articulate poise. “It’s supposed to be an artistic
And while the new interest in publicising his artistic
collaborating now more
one plus one equals three. The mistakes that
expression. You can’t give away your feelings for
expression in more tangible ways may be new to us, the
than ever before. Both
are made are when they think it’s kinda easy
your entire life. We start to devalue the creative
essence behind the product hasn’t changed.
need ways to cut through,
and ‘we’ll just get in there and do it’, and it
and the huge technology
doesn’t do anything for either party.
“AN ARTIST HAS TO
VALUE MUSIC FOR WHAT
IT’S SUPPOSED TO BE.”
turn at every point, it’s always a paint brush in my
changes in the media
The idea of musicians ‘selling-out’ has far less
fucking hand and I’m choosing the colours. So I choose
landscape are helping to
of a stigma these days. What do you attribute
whether or not I’m living a beautiful life, an abundant
enable this. These days
this shift in thinking to?
life, or if I’m living in chaos.”
audiences are able to
I think the most interesting thing is now
consume a broader range
there are very few acts that won’t want to
“I’m always painting my reality, at every single
Miguel’s career beginnings as an underdog act –
too green to speak up to label execs – should only be
of music across multiple
viewed as half of the backdrop that lead to his ascent;
platforms, which in-turn
process and your entire creativity if you continue
a cursory look at his past twelve months proves his
means more opportunities
just giving yourself for free.”
hunger to transcend pigeon-holing was coursing
for brands to add real
through his veins long before he began rewriting pop
value to an audience’s
culture patterns.
music experience.
Earlier this year Miguel set to work on the EP series’
follow-up. The release will be presented in the same
fashion: self-funded and dripfed over three months.
When asked to reflect on his past year Miguel smiles
Hitting stores through July, August and September, it
and sits forward. “I hope that they’re ready to strap
How has the competing
will come with clothing he’s designed, conceivably his
in,” he says, “because we’re about to make it a lot more
new media changed
balanced the mediums as to not undervalue his work.
progressive.”
music-based TV
BANDING TOGETHER
relationship – not always for the most amount
of money. They understand that if you want
to get involved in interesting things then you
need to do interesting things yourself. I think
THE MARRIAGE OF MUSIC AND MARKETING
S
a lot of it comes from the fact that the record
labels have not been – the evidence suggests
udeep Gohil is the CEO of Droga5 in
what they should do, and it was always ‘put a
– very good at marketing stuff themselves,
Australia, one of the world’s leading
crappy poster here’ and do all these other lame
and the artists ask, ‘Well, who are the best
advertising agencies. Over the
things, and whilst we took the money at first,
people at marketing?’ I was at a conference
years, the company has worked on
we thought it didn’t really have anything to do
the other week, and Pharrell [Williams] said,
campaigns combining the might of Microsoft
with the events we were doing. So my business
‘the average budget for a music video from the
complementary to music-
and Jay-Z, publishing house Hachette and
partner and I started to give our advice on what
label is $15,000 now - that’s ridiculous. Proctor
based TV advertising as
Qantas, and even tapped Sarah Silverman for
it provides different ways
an innovative Obama 2008 campaign. Last
for audiences to interact.
year, the world’s largest talent agency, William
Mobile means we can
Morris Endeavor, bought a 49% stake in the
build stronger personal
company, furthering their scope. We talked
relationships and digital
to Gohil about the increasingly-important
adds another dimension
marriage between music and marketing – and
to do. After ten years of doing events, we had a
help them make better marketing decisions.
to a campaign, allowing
how selling out is no longer a dirty word.
lot of brands coming to us – whether or not we
Working with brands makes those activities
had an event or not – paying us to give them
happen more organically, and in a smarter way.
advertising/campaigns?
New media is actually
for a far stronger two-way
and Gamble would never try to do anything
“THE BIGGEST MISTAKE
IS THAT PEOPLE THINK
SOMEONE WILL CARE.”
for $15,000. Why does a label believe that’s
enough money to make a great film, and a
brand knows it’s not?’ What’s changed now is
the artists see the labels as the financiers, and
the smart ones have people around them that
conversation. Audiences
Before you worked in this field you worked
advice in that space. There is a big difference in
want to consume their
both as a DJ and a promoter. How has this
the worlds of brand and music: brand people
favourite content,
informed the way you pair brands and music?
are very analytical, plan things well in advance,
immediately, so it’s
It was the underpinning of everything I’ve
and are fairly used to getting their own way.
important that campaigns
done, really. After I left university, I started
Music people on the other hand, are quite
adapt to reflect this.
in the mailroom at an advertising agency, and
organic, fairly creative, don’t plan particularly
This means creating a
at the same time I was DJing, putting on gigs
well, and they seem to believe that brands have
campaign that sits across
and stuff like that. Over the years, when we
buckets of money, and all they need to do is
multiple media channels
were doing events, I was being approached
find the right person and they’ll unload this
and multiple screens.
by brands to sponsor our events, and they
treasure trove of finances.
were being advised by agencies in terms of
52 AUSTRALIAN
THE MUSIC NETWORK
MUSIC INDUSTRY QUARTERLY
get involved with a brand, for the right
Understanding the dichotomy between those
Connect to the business of music | TheMusicNetwork.com 53
F
L
U
M
T
E
L
Words by Danielle Long
W
hen rock legend, the late Lou Reed, took to the stage
needed someone who could create something cool, that was also quite
at the advertising industry’s biggest international
technical.”
festival in 2013, it signalled a major turning point in
While initially the agency thought about using a generative artist,
the relationship between the music industry and the
the agency reached out to Future Classic and quickly set their sights on
advertising business.
musician/producer Flume.
“Things have changed,” said Reed as he addressed the international
Key to the project’s success was creating authentic content and
marketing and advertising community. “The advertising people
an original composition that could reach out to and connect with
actually pay musicians for what they do. It’s a startling turn of events.
a millennial audience, while providing something for Intel’s techie
It used to be thought of as selling out but now it’s the opposite, people
audience to “salivate over” - and engaging Flume’s existing fan base and
like the ads now.”
social media following.
Marketers searching for new ways to connect with hard-to-reach
audiences have embraced the music industry, leading to an explosion
To ensure the target audience were suitably captivated, Intel also
created a ‘making of’ film, providing a behind the scenes look at the
project. To date, the two videos have attracted a combined audience of
“OBVIOUSLY, THE TIMING
FOR THIS CAMPAIGN WAS
EXCELLENT.”
more than 1.3 million people on YouTube.
While collaborating with an emerging artist wasn’t a mandate, it was
an important element to the project’s success, says Gelardi. “We lucked
out really. We started talking to Flume in mid-May and suddenly things
just seemed to really take off for him, and obviously, the timing for this
campaign was excellent.”
When Flume performed at last year’s ARIA’s, he opted to perform
of creative collaborations: Beyonce and Pepsi, Skrillex and G-Star and
The Greatest View accompanied by The Preatures’ Isabella Manfredi
Swedish House Mafia and Volvo. Most recently Australian audiences
and members of the Sydney Symphony Orchestra. Intel was also there,
reaped the benefit of electronic artist Flume’s collaboration with Intel.
having supplied tablets for the musicians to read their sheet music
The collaboration, called ‘Intelligent Sounds’, comprises a unique
sound and light installation, a specially-composed Flume track (The
Greatest View), a robot conductor and a ‘band’ powered by Intel tablets.
The three-minute film sees a robot conductor “play” a series of
tablets, which are programmed with synthesised notes and linked to
custom-made instruments, which recreate the sounds within the track.
The robot is programmed to hit the right note in time with the track.
The 12-week production included 2,000 developer hours, more than
from.
“THESE PROJECTS HELP YOU
CREATE A MORE EMOTIONAL
CONNECTION.”
60 Intel powered tablets, and created a piece of content that captured
the attention of geeks and music lovers alike.
“We wanted to create something fun and engaging that could create
an emotional connection with people,” says Intel National Marketing
Flume also decided to include The Greatest View on the deluxe
edition of his latest album, Flume.
For Intel, the kudos of having its brand associated with an artist that
Manager Anna Torres. “We wanted something that would surprise and
is not only a rising star, but is also recognised for being at the cutting
delight audiences; something they can enjoy and engage with, so that
edge of music innovation is the cream on top of this collaborative
later when they are in the shop, they think about our brand.”
partnership.
Intel, the brand behind the processing chips which power devices
“What stood out about Flume, was that he was not only making music
such as laptops, tablets and mobile phones, needed an entertaining way
but he was also using new technology in really interesting ways. He is a
to showcase how its products enhances people’s lives.
really innovative and cutting edge artist,” says Torres.
Enter Intel’s advertising agency The Monkeys.
“We knew we wanted to create something in the branded content
“The beauty of working with an artist like Flume is that you can get
people to engage with your brand in a more authentic way, and these
space,” says Jay Gelardi, Digital Creative Director at The Monkeys.
projects help you create a more emotional connection with consumers
“We knew we needed an artist to really collaborate with and we
by tapping into something they already love,” says Torres.
54 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
Connect to the business of music | TheMusicNetwork.com 55
RECORDING
S
S
O
B
E
H
T
L
Words by Nathan Jolly
ast March when Bruce Springsteen was in
Some of the instruments were from their live rigs,
Sydney, he stopped into Studio 301 to cut two
although we rented a drum kit for Max [Weinberg]. I
tracks: High Hopes, a song from LA-based
brought a few snares with me, along with a couple amps
Havalinas, and a cover of The Saints’ jangly
and guitars. Garry [Tallent] used an Ampeg B15 - Nils’
Just Like Fire Would ­– evidently, being in the
[Lofgren] was a Strat through a 65 London - Tom had
middle of a massive world tour isn’t enough work for
his Hippo guitar and his Marshall rig - and Bruce used
The Boss. Nick DiDia helmed the sessions, and High
a Martin D35 on one track and his Takamine or Gibson
Hopes was recently released as the lead single and title
track from Springsteen’s latest record. Naturally we
were curious as to what went down at 301, and figured
you might be too, so we asked DiDia a few questions
about the sessions.
“THE BEST THING TO DO IS TO
TRY TO ELIMINATE THE STUDIO
AS MUCH AS YOU CAN.”
Firstly, how did The Boss come to record the lead single
from his new record at 301?
on the other. Roy [Bittan] played the studio piano (a
I had been in contact with Ron Aniello (one of the
C7), and they brought in Charlie’s [Giordano] B3 rig.
producers) about coming to LA to do some recording,
but it didn’t work out schedule-wise. So when they were
and a few other mic’s I always use - Neumann Km86s
here on tour, Tom Morello came down to 301 Byron and
and KM184s,and a Shure SM7. Also an old pair of
did some overdubs on tracks they had already recorded.
Neve 1073 modules. We were in Studio 1 which has
After that they decided to track some songs with the
a Neve 88R - and the usual assortment of outboard
entire band, so we went into 301 Sydney.
compressors LA2As, 1176s, and Pultec EQs.
When working with someone with such an established
How about vocally?
sound, is there a temptation to either sonically
It was an SM7 through a Pultec and an LA2A for the
replicate his ‘sound’ - or conversely, to kick against it?
vocal, and a KM86 through an 1176 on the acoustic, and
From the engineering side it’s usually about capturing
it was tracked together.
what happens in the room. I think with any great live
The E Street Band are obviously a well-oiled machine.
band, the best thing to do in a studio situation is to try
How much tracking was done live?
to eliminate the studio as much as you can, and not let
56 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
I have an old AKG D30 that I used on the kik drum,
The band tracked live as a nine-piece: Bruce, Max,
the technology get in the way of the performance.
Roy, Garry, Nils, Tom, Soozie [Tyrell], Charlie and
What’s the in-studio dynamic like with Springsteen and
Everett [Bradley]. Seven of them were set up in a semi-
the band?
circle in the main room, with Max and Bruce in separate
It’s usually pretty quick - the idea is to try to have
isolation booths. One of the best things about the main
everything ready so the band can walk in and start
room at 301 Sydney is that it has great line of sight for
playing. That doesn’t always happen, but it’s the goal.
the musicians, and the iso booths are pretty large - so it
And I was taught to always be recording - it’s easy to
doesn’t feel too separated. We borrowed iso booths from
erase something you don’t want - but sometimes really
the SSL studio for guitar cabs, then we did the horns
difficult to replicate a performance or an idea. For me
and additional BGs as overdubs in the main room.
personally, it’s inspiring to work for Bruce and the band
Tom Morello is also a player with a very singular sonic
because they are all great at what they do, and they still
palette. Was there anything unusual in his setup?
continue to work really hard at it.
Tom has a pretty straight-forward setup - although
How set in stone were the arrangements and ideas
the cut switch on the guitar is unique - and he uses
before the band entered?
the Whammy pedal quite a bit. I think when he came
I believe these particular tunes had been rehearsed for
to Byron we used his Marshall head with my Marshall
the live show, so the arrangements were very together.
cabinet that has 30s in it - but in Sydney we used his Can you talk us through the gear you used?
live rig.
Connect to the business of music | TheMusicNetwork.com 57
THE
FINN
TY
S
A
N
Y
D
N
Words by Benn Laidlow
eil Finn started 2013 with an impressive, ARIA-
Do you ever get overwhelmed by choices when songwriting, and not
nominated run of shows with fellow-troubadour Paul
know where you’re supposed to take them?
Kelly. Behind-the-scenes, however, Finn was readying
Yeah, of course. Sometimes you get lost days where a song isn’t working
Dizzy Heights, his first major release since signing a
and you can’t nut it out. But I’m a big believer in endurance: you just
publishing deal with Kobalt in 2011. TMN chatted to Finn
keep at it and eventually a little crack in the wall appears, or a little flash
about the new record, his back catalogue, songwriting, family, and
of inspiration happens, but I don’t rely on that happening every day.
everything inbetween.
Some days you just have to get some work done and hope that it’s all
gonna come together the next day.
This record, moreso than previous ones, seems to take repeated listens
Do your three solo albums feel like a trilogy, like parts of the one
to begin to make sense.
whole?
Yeah, it’s not a particularly modern concept, in terms of expecting
I can’t quite get my head around looking at it that way, but I know that
people to listen to something more than once, but hopefully it will
people probably will see it like that. For me, I put an equal amount of
reveal itself over time. I mean, expecting people to do that is quite hard
care and attention into each record, the names that they come out under
these days, and I know I’m the same. But I do think a slow reveal is
and the collaborators I work with – collaborators are a very important
always a good sign for a record. I know myself, if I’m on the third or
part of it - I know it means something and there is branding and all that,
fourth listen with a record and things are starting to find their way in,
but it just feels like part of a continuum to me.”
then I know it’s something that will have a little bit of longevity.
It seems like a project you’ve been keen to get back to for a while. Even
Do you remember how the album began to take shape? Was there any
though you’ve been quite busy, I’d imagine the delay between solo
kind of game-plan?
albums would have been frustrating given that you finally have your
I’m always just writing and doing demos. Occasionally you get little...
studio up and running quite well.
they’re not usually complete songs, and they’re often just hoisted
It doesn’t really matter how long it’s been. Having said that, I’m quite
together quite quickly often with room for improvement. You get an
eager to keep going. I’ve got a whole bunch of new ones and I really
atmosphere come through with each recording, so I just gathered
would like to do a record quite quickly. I’ve got a little bit of touring to
together a little collection of things that seemed related in some way,
do, but then come the end of the year I think I’ll be starting work on a
but in other ways they’re just individual collections of songs until you
new record.
get them into a studio with a band and a producer and you find there’s
The physical version of the album has got a couple of bonus tracks that
“COME THE END OF THE YEAR,
I THINK I’LL BE STARTING WORK
ON A NEW RECORD.”
58 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
aren’t on the iTunes edition. Your Next Move is a great song. Is Liam
drumming on that one?
No. Elroy’s drumming on that one. It’s an explosive drum track. Liam
plays bass and guitars on that one, but I can imagine why you’d ask. He
does have a really good frenetic ear.
Is that [Finn’s wife] Sharon doing all the background vocals
throughout?
connecting threads. You know, it’s an exploration from that point on,
“She does some stuff on background vocals. It’s not just her, there’s
trying to keep performance to the forefront, rather than having some
another singer from New Zealand. But Sharon sings and plays bass
plan that you feel you have to stick to.
through the whole record.”
Do you find that you sometimes have to trick yourself into discovering
Cool. That’s puts a new twist on it.
new structures or chord patterns?
“Yeah, I kind of had the whole family turn up for the sessions, which
I’ll employ pretty much any device known to writers, from pure
was really nice. And we had a Christmas concert recently which was
inspiration to complete skullduggery, so I don’t mind the individual way
really exciting, we had Tim’s whole family as well for that. His two kids
they unfold. They’re mysterious little beasts, songs, and I don’t mind
are really talented and his young daughter Eliot is an amazing singer;
leaving some of it mysterious either.
his son Harper is becoming a brilliant piano player, too. It was really
Did some songs take longer to pull together than others?
enjoyable and we made a pretty rockin’ good band, I have to say.
A few of them went through several incarnations. Funnily enough,
So do you think a Finn Family album could be in the works? With all
Strangest Friends was the one with the most evolved demo, and that
those voices genetically sort of...
one was the hardest to get a new track of. White Lies and Alibis started
...programmed together? [laughs]. Well, I’d be in favour. I wouldn’t
life sounding like an Olympic Games’ anthem, and has now ended up
want it to be a daggy, hokey kind of thing for anybody. It shouldn’t be, it
quite a tense, albeit beautiful arrangement.
would sound bloody good. That would be the main thing.
Connect to the business of music | TheMusicNetwork.com 59
E
H
T
G
N
I
S
A
CH
STARS AND STRIPES
D
Words by Poppy Reid
rew McAlister and Troy Kemp may have been hesitant to
jump in and cause any waves but I just believe each to their own. If we
join forces at first, but with three albums, a slew of country
want to do a rock solid country album we should be allowed to do it
accolades decorating their respective poolrooms (we’re
and if John Williamson wants to sing about chandeliers and stars and
guessing), and a Top 20 record on ARIA’s mainstream
gallahs then let him do it.
chart, the past five years have been measuredly progressive
Troy Cassar-Daley and Adam Harvey were the target of it and they
for the six-foot country rockers. We chat to Kemp - a TMN alumni who
pulled out […] That shouldn’t be the way it goes. It was a very brave
stapled and delivered the mag in its embryonic days - on the release day
thing to do […] But you know John Williamson and Adam Harvey got
of the duo’s latest offering Harder To Tame.
nominated in the Golden Guitars for a song called King of the Road,
which is written by an American named Roger Miller.
How did you both come to ditching solo dreams to working as a duo?
We’ll keep doing our rowdy, rocking country style and of course if
I was recording with Australian producer Mark Moffat who lives in
people like it, they like it you know? I think people who liked Cold
Nashville. Drew was involved in the Johnny Cash show called Aussies
Chisel and bands like the Screaming Jets would like McAlister Kemp if
Walk The Line and one of the guys pulled out. I’d just come back from
we could get ourselves crossed over into the mainstream genre, because
Nashville with my album and the right person heard it and said ‘do you
there’s enough songs on the new album that could be played on Triple
wanna play in this Johnny Cash Show’. I thought, ‘Oh I’m trying to get
M. Unfortunately Australian commercial radio doesn’t really give
my own career going but I guess I’ll do this as well.’
country a look in because they think it’s all John Williamson and Slim
It was me, Drew McAlister, Michael Carr and Nick Kingswell, so the
Dusty singing about how the tractor broke down. I think there needs to
four of us are doing this Johnny Cash show and we’re out on tour for a
be a rise in stations that play the more rocking country. I mean you’re
year. There was a lot of downtime on the road where we had nothing to
never going to get played on Triple J, but otherwise you get stuck in
do, so when we were hanging out in hotel rooms we just started writing
community radio land where your song gets played on regional Taree
songs together. And Michael Carr came into the room one morning and
radio or Goulburn radio and who listens to that? Five people?
said, ‘What’s that song you guys are singing?’ we said, ‘It’s just a song
Harder To Tame is the first record where you used other songwriters.
we’re writing’, he said ‘You guys should start a duo, like a Brooks &
We always prided ourselves on writing our own songs for our own
Dunn type thing, there’s no two guys that have gotten together and do
record. But we wanted to make sure this was a killer record and we
it the way you guys do it.’ We looked at each other and said, ‘Na that’s a
thought if there’s great songs in the publishing houses we may as well
stupid idea.’
check them out. […] We ended up with five songs from Nashville and
Michael kept ringing me and he kept ringing Drew and finally we
five songs that we wrote ourselves. We haven’t done that before but I
caved and decided to give it a go. Our first show was at an awards show
think it gives the album an American country sort of flavour.
in Newcastle with Adam Brand, he said, ‘Who are you guys? I wanna
It will be interesting to see if any of the songs you discarded make their
way onto radio.
“[AUSTRALIAN COMMERCIAL
RADIO] THINK IT’S ALL JOHN
WILLIAMSON AND SLIM DUSTY
SINGING ABOUT HOW THE
TRACTOR BROKE DOWN.”
get involved, I wanna take you on tour, you can be my opening act.’ We
Years ago when I was Troy Kemp solo artist, I was given a couple of
songs by a guy named Jamie from Peer Music. He said ‘I think you
should record these songs’, at the time I was too bigheaded and too
proud, I said, ‘Oh no I don’t need those songs mate, I can write my own.’
“GOLDEN GUITARS, CMC
AWARDS [...] HOW DID THIS
EVEN HAPPEN?”
got to open to a thousand people every show. He helped us get a record
deal with ABC Music, now it’s Golden Guitars, CMC Awards, six #1s five
Needless to say those two songs both appeared on the Golden Road
years later. How did this even happen? We’re still pinching ourselves.
album that Keith Urban recorded and they both went #1 in America.
Speaking of the Golden Guitars, what’s your take on John Williamson’s
That was like a punch in the face. I’ve still got the original demos.
decision to bow out as President of the CMAA?
Drew and I have chosen to stay out of that because we don’t want to
60 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
Harder To Tame is out now through ABC Music
Connect to the business of music | TheMusicNetwork.com 61
DO YOU BELIEVE IN
coming from there, but it’s not a sound-alike.
band, but are you worried some of the more pop connections might be
What’s ahead for 2014? Is there an album to speak of yet?
detrimental?
The album is finished. It’s going to be like a traditional band rollout.
I think nobody knew who I was as a songwriter when this single came
The difference between us and other acts is, because we came from
out – they just liked the song. In my experience, as a music-maker, it
a songwriting background, we wrote songs first, and then we started
just matters about the music. It doesn’t matter if I was a big songwriter,
playing shows. Probably by March, the album will be out globally,
or a teacher the day before [it came out]. There are so many big
and then we will start doing all the festivals and just touring, touring,
songwriters that then try to be recording artists, and it doesn’t work –
touring – ‘til we’re 90.
either because they don’t write the right song, or they’re just not artists.
Is it obvious when a song belongs with Magic!, as opposed to with
We found an artistic place together as four people, and people seem to
another artist. Is that how you write?
be able to separate this. They might not like a Justin Bieber song, but
As a songwriter, I am able to separate myself personally when writing
people get it, they’re smart. We weren’t even sure whether we would
mention those songs, but you can’t shy away from your achievements.
Words by Victoria Lucas Photo by Ken Leanfore
W
e are a band. We live and eat together. Songwriting
How did you arrive at this sound? It sits rather apart from everything
is definitely a big part of my life, but it was only to
else on radio at the moment.
get me to a point where I could get on stage.” Nasri
It’s very influenced by the Police and The Wailers. We try to cultivate
Atweh, frontman of Canadian reggae-tinged pop
group Magic! – who shot to prominence when their
summery single Rude lit up Australian airwaves before an official US
release – is keen to establish the four-piece as a bona fide band, and not
merely a songwriting vehicle. It seems like a needless differentiate for
a group with just over three minutes of released music to their name
to make, but considering the vocalist has penned tracks for the likes of
“THERE ARE SO MANY BIG
SONGWRITERS THAT THEN TRY
TO BE RECORDING ARTISTS.”
Justin Bieber, David Guetta, Jason Derulo, Akon and Cheryl Cole, it’s
“WE KNEW RUDE WAS A HIT
[...] IT HAD THAT FEELING:
‘THIS COULD BE A HIT SONG.’
ARE WE SURPRISED IT
HAPPENED SO FAST? YES.”
It’s only been positive. People, deep down, love Justin Bieber.
Were the songs for the album written over a number of years?
One of them is about four years old, which was a hook idea, but all the
rest were written in the past year.
We’ve only heard Rude so far. Does the album swing far from that
track, stylistically speaking?
I’d say it’s a forest of about four trees [laughs]. There’s a cohesive
element that brings it all together, not every song sounds like Rude
obviously, but I think people who fall in love with the first song will hear
that same thing in the other songs, too.
Were you expecting the single to hit so quickly?
for people. With some songs I wrote them from a place, and later sold
Yes. We were hoping and projecting, but actually having that success…
them, and others I would be with an artist and help complement what
We’re confident, we knew Rude was a hit, because the people we worked
they wanted – just be there to help with their idea. But with the band,
with were really great, and we worked really hard on it, and it had that
not surprising that some have viewed this latest venture as yet another
our sound organically. I mean, all music is somewhat derivative, and
well, we are like a proper band – we sit there in our underwear writing
feeling: ‘This could be a hit song.” Are we surprised it happened so fast?
vehicle to affix his songwriting smarts. We sat down with the frontman
those are our main influences, but we also wanted to set it apart from
songs, we live and eat together. We just created a band.
Yes. I mean, four days and it’s everywhere – that’s nuts. But are we
in Sony’s Sydney offices to discuss songwriting and quick-fire success.
anything. We want it to sound fresh, so hopefully it sounds like it’s
Obviously your experience will be a great help in establishing the
surprised it’s working? No. We made it to work.
62 AUSTRALIAN MUSIC INDUSTRY QUARTERLY
Connect to the business of music | TheMusicNetwork.com 63
HEATSEEKER
14 TO WATCH IN ’14
01
Jam. Ostensibly signed to producer No I.D’s
excellent Because The Internet and Drake’s
imprint Artium, Aiko released the EP Sail Out
unstoppable Nothing Was The Same, plus
last month: a blithe, crystalline effort, which
a debut album slated for release this year
features Childish Gambino (Donald Glover) and
through Def Jam, Aiko should become a main
Kendrick Lamar.
player in the next six months.
04
03
First single Bed Peace – with its Disney-lite
production and excellent, stoned bed-in video
03 AMERICAN AUTHORS
featuring Glover and Aiko in John and Yoko
This summer’s cricket coverage has been
mode – didn’t break at Australian radio, but
punctuated by BWS advertisements featuring a
has scored over 1.2 million YouTube views. The
stomping rhythm with a breezy ukulele line and
hypnotic Stay Ready, which features Lamar, is
a sing-along chorus. The song is Best Day Of
01 CHILDISH GAMBINO
too much of a slow-jam to make much of an
My Life by American Authors, a Brooklyn indie
04 KINGSWOOD
hip hop record. Towards the end of 2013,
easy familiarity and jaunty feel has dominated
Donald Glover is a polymath who gets bored
impact at Australian radio either, but it acts as a
band who have seen their lead single reach
An Unearthing from Triple J which saw them
Brown released his follow-up Old, which
commercial radio and charts here, all months
easily. Because of this, his musical career up
great showcase of Aiko’s laconic vocal qualities
the top ten on the Billboard Hot Rock Songs
join the 2012 Splendour lineup, a show-stopping
was both a more-mature, nuanced effort,
before a US release.
until the release of last month’s challenging,
– a style which flows effortlessly throughout the
Chart off the back of a number of commercial
performance at last year’s Big Sound industry
and a step forward in regards to song-craft
conceptually-dense record Because The
entire EP.
syncs, placement in trailers for The Secret Life
conference, and the management smarts of
and production. Assuming his forthcoming
or accidently. Frontman Nasri Atweh is an
Of Walter Mitty and Delivery Man, and a prime-
Dave Powell (who helmed the early career of
appearance at the Laneway Festival doesn’t
accomplished songwriter, having worked with
Internet had been impressive but unfocused.
Aiko has been bubbling in the musical
06
Of course, none of this happened organically
His success in comedy – Glover wrote for
underground for years. After a number of false
time cover version - courtesy of the US version
fellow rock revivalist Jet); all this momentum
cement him too firmly as an alternative artist,
the likes of Justin Bieber, Christina Aguilera,
30 Rock for three seasons, starred in cult
starts with former label Epic, she left the label
of The Voice.
and support should see Melbourne meat-and-
Danny Brown seems set to make the leap to
Pitbull, Chris Brown and Iggy Azalea, and
series Community for five, and has released
and self-released a mixtape Sailing Soul(s),
potatoes-rockers Kingswood finally breach
commercial radio in Australia. Whether this
his past success has honed him into a pop
stand-up specials – saw his musical career
which featured contributions from Kanye West,
in Australia a few weeks ago, and should see
commercial radio in 2014. Their widescreen
occurs successfully hinges on a number of
powerhouse. Talking to TMN towards the end
erroneously considered an extension of this,
Miguel and Drake. The success of this release
the group’s current US success translate nicely
sound and arena-ready live show should prove
ever-shifting factors; despite the seeming
of last year, Atweh assured us that the track’s
rather than a separate pursuit. This perception
led to her signing with Artium.
on this side of the globe - if the early radio
too tempting for the likes of Triple M not
ubiquity of hip hop music, it still only makes up
success in Australia was not a surprise to him
additions are any sign, at least.
to jump upon – the group are already road
a small portion of Australian commercial radio
– and a cursory listen justifies his confidence.
veterans, one hooky single on the desk of the
playlists - even massive artists like Drake and
An album’s worth of songs has been recorded,
right radio programmer is all it will take from
Frank Ocean are overlooked for the most part.
and with an early Australian hit, plus a massive
here on in.
A number of singles on the accomplished Old
US rollout still ahead, it seems Magic! will be
could find favour at radio, but honestly, Brown’s
sticking around throughout 2014.
was exacerbated by a limited promotional
run for 2011’s Camp, negative reviews from
respectable media outlets focused on the sense
that Glover was just smugly mucking around
in the rap universe, despite a slew of previous
With her appearance on Childish Gambino’s
02
Best Day Of My Life went to commercial radio
independent albums, mix-tapes and recordings
05 DANNY BROWN
cartoonish, blunt-toking persona and high-
suggesting otherwise.
Detroit’s Danny Brown has been bubbling
pitched delivery could work either way for him.
07 OLIVER TANK
Earlier this year, Glover quit Community,
in the underground for a number of years
holed up in a rented mansion with a handful
now. Brown’s 2011 debut album XXX was
06 MAGIC!
Sydney’s FBi Radio saw Oliver Tank step into
of co-conspirators and crafted Because The
self-released and saw him quickly become
As far as a test-market goes, the current
the spotlight with the beautifully fractured
Internet, a dystopian concept record which
the darling of influential publications such
Australian summer has seemed almost unfairly
Last Night I Heard Everything in Slow Motion.
uses the displacement and shifting moral code
as Complex, Pitchfork and Spin - the latter
suited to Canadian pop act Magic! and their
The victory saw Tank enjoy an elevated
brought about by our online activities as a
of whom named XXX as the year’s top
debut single Rude: the track’s island vibes,
profile, quickly releasing his debut EP Dreams
launching point from which to study his own
deep-seated fears. Production-wise it sits in a
similar universe to 2013 records from Drake and
The Weeknd, while adding the futuristic soul of
In late 2011, a radio competition held by
05
to critical acclaim. Last November, Tank
released follow-up Slow Motion Music, which
has received strong community and Triple
J radio support. Although the tracks on this
fellow-Atlanta-alumni Outkast, and the slinky
latest EP are possibly too fragile to crossover
paisley of Prince. All this would suggest Glover
to commercial radio, don’t be surprised if a
has moved in a less commercial direction,
future remix sees Tank sneak onto previously
however an abundance of strong tracks – 3005,
unconquered playlists.
which has already received an impressive
amount of Triple J support, the perfectlyexecution Telegraph Ave, and the breezy,
twisting The Worst Guys are the most obvious
07
radio singles – should see Childish Gambino
find favour at Australian radio in 2014.
02 JHENÉ AIKO
We have a sneaking suspicion Jhené Aiko
is about to become a main priority for Def
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HEATSEEKER
08 KILTER
Kilter is fast building a reputation for himself,
both here and internationally, as a producer
and as one of the poster boys for the
08
If You is any introduction of what’s to come,
10
expect revivalist rhythm-and-blues with breezy
choruses, and smooth, come-hither vocal play.
Nathaniel will undoubtedly play all the right
‘Australian Sound’, think Flume, Ta-Ku, L D R U,
cards; he’s been playing the game since 2008,
Chet Faker, Touch Sensitive and many more.
and is only just beginning to warm up.
13
13 JOEL FLETCHER
The ‘Melbourne sound’ is all the buzz in EDM
circles, and Joel Fletcher is undoubtedly one of
the young stars currently enjoying a very swift
rise to fame.
Along with the scene’s poster boy, Will
Over the last year, Kilter has exploded onto
Sparks, Joel is taking his sound to the masses,
the club scene, with regular gigs at some of
10 CAULFIELD
whether it be with his latest single Swing –
the biggest venues and parties in NSW and
Crashing onto the scene in the wake of releases
which samples Savage’s 2005 hit by the same
interstate, as well as scoring support slots for
from Australian hardcore heavyweights
name and is already Platinum-certified – or on
the Klaxons, Shapeshifter, MØ, and local hero
Northlane and Dream On, Dreamer, Caulfield’s
the festival and touring circuit. Early 2014 sees
Sampology. In 2013 he played the Fat As Butter
debut album Vanity was met by an audience
him join Avicii’s massive True tour - the perfect
festival in Newcastle, and Stereosonic, the
undergoing collective metalcore nostalgia.
start to the year.
country’s biggest music festival.
However unlike their predecessors, preaching
It wasn’t until recently though that his
self-belief and inner revolution is only a small
14 BROODS
production got some big time attention. He
because he didn’t possess ample talent, he
part of the package. Their infamous live
Prepare yourselves for the New Zealand
was signed to young label and management
did, because history has taught us that if you
shows - a corrosive riot with frontman Mahan
invasion. After Lorde’s singular success in the
company EtcEtc, who are distributed through
didn’t hit the top three, you were in for a long,
Shishineh’s demonic charisma growling through
US, it was only a matter of time before the rest
Ministry Of Sound, who in turn linked him
independent road ahead sans the spotlight
vocalist/guitarist Andrew Gill’s ribboned charm
of the world begun excavating the North Island
up with his first major remixes. Earlier this
of a major label lighting your journey – the
- seep deep into Vanity. The record is as much
K-Pop chart climber. And while a slew of
for hit-makers, and one of the most pleasing
year, Kilter remixed UK deep house legend
mention of his short stint on the fourth season
a nod to their now defunct heroes as it is an
one-gender groups and their self-extradited
acts to have been dug up is brother/sister duo
Ben Pearce’s smash track of late last year:
of Australian Idol didn’t help either.
allergic reaction to the band’s revolving door
solo artists are garnering western acclaim on
Broods, whose glassy, glistening single Bridges
lineup prior to and during recording.
Billboard’s K-Pop Hot 100, we’re yet to see the
(produced by Joel Little, who co-wrote and
same support nationally.
produced Lorde’s Pure Heroine album) has
What I Might Do. The track immediately
However bad luck turned to good when
rose to popularity in the underground dance
his inclusion in last year’s X Factor Live Tour
community, racking up a quarter of a million
lead to a recording contract with Sony Music
Halfcut imprint last September and with
The Sydney band signed to Shock Records’
plays, time at #1 on the Hype Machine, and
Australia, as the first artist to sign to the label’s
Vanity fully-formed and mastered, a whirlwind
females put together by artist agency Chrome
eventually some play on BBC’s Radio 1.
in-house songwriting and production duo DNA
marketing campaign ensued before the record
Entertainment in 2012. Railing against the
Enter Crayon Pop, five twenty-something
12
seen them quickly sign to Capitol, with a debut
record due out in August.
Obviously, Broods will both suffer and
Songs. His first single You was released last
hit shelves two months later, sitting inside the
fantasy-feeding provocateurs and the cutesy
this guy is about to break, and given the
September, peaked at #4 on the ARIA Chart,
Top 5 of iTunes’ Heavy Metal Chart for just
bubblegum chewers that dominate K-Pop,
tremendous rise to fame we saw with Flume
#16 in New Zealand, and has been certified 2x
under a month.
Gum-mi, Ellin, Way, Cho-a and Soyul are more
by fellow Aussie young gun Wave Racer
hit upon an entry that doesn’t mention the
– whose name is routinely trotted out when
Platinum.
peculiar than provocative. With their pant-
destroying dance floors around the country.
17-year-old – and how they choose to follow
All of the above gives us the impression
Written with DNA Songs (Anthony Egizii
With international tours pencilled in and a
benefit from being swept along in Lorde’s
success – Google their name and you’ll rarely
following that grows with each national show,
skirt combos, bike helmets, Crayola-coloured
They’ve recently been added to the Yes Please
up Bridges is key to their continued success.
it’ll happen quickly. Keep an ear out – hopefully
and David Musumeci), who are responsible for
the stage is set for further triumphs this year
tracksuits and the fact they’ve released two
records family and join the ranks of Guerre,
“We have to build our own identity outside
commercial radio aren’t too late to the party.
a slew of hits recorded by talent show alumni
as the simmering vexations on Vanity begin to
EPs and three albums in the space of eighteen
Oliver Tank and Fishing. Their Facebook page
of Lorde and the rest of New Zealand music,”
(Timomatic’s Set It Off, Samantha Jade’s
boil.
months, it’s no wonder Crayon Pop are selling
has almost 14,000 likes, and their originals vocalist Georgia Nott told Billboard, and she is
discussing Kilter – when he does break through,
09 NATHANIEL
Soldier, Reece Mastin’s Shout It Out), You
out shows in Tokyo in under an hour and
and remixes routinely crack 100,000 plays.
correct - taping a popular sound may ensure
When Nathaniel Willemse finished up sixth on
is eccentricity wrapped in velvet; Nathaniel
11 CRAYON POP
topping Billboard’s K-Pop chart with a song
Their newest release Goodnight ft. Polographia
quick initial success, but it’s with the expansion
the 2012 season of X Factor Australia, most
erupts into Prince territory during the chorus
Since the viral takeover of Gangnam Style in
centred around a dance routine called the
and Moshi have already see them start 2014
of this template that they will find their actual
expected to never hear from him again; not
whilst tipping his hat to bedroom R’n’B.
2012 Australia has been anticipating another
‘Straight-Five-Engine Dance’ (Bar Bar Bar).
with a bang.
sound.
Chrome Entertainment signed a partnership
09 11
contract with Sony Music last August and in
November the group flew to Australia for a
one-week promo stint. Their crowded guerrilla
14
performance on the Sydney Opera House
steps proved two things: their routines are as
ridiculous as Psy’s, and the nation are morethan-ready to remain on the K-Pop train.
12 COSMO’S MIDNIGHT
Last year was definitely the year for Australian
dance music, with acts like Flume, WhatSoNot,
Flight Facilities, Hermitude and many, many
more breaking the international scene, and the
‘Australian Sound’ being recognised worldwide.
The next wave will benefit from this extra
exposure, with Cosmo’s Midnight – brothers
Cosmo and Patrick of Sydney’s Inner West –
already making serious waves.
Their track The Dofflin has been played
to death by alternative radio, with the remix
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