More disruption beckons as streaming growth slows and platforms struggle to make money.
Music matters to the wider economy. It was one of the first industries to be disrupted by the internet, and the first to repackage itself as all-you-can-eat rather than all-you-can-steal. The status quo has been the norm for a while: Napster was wound down two decades ago, its nemesis Metallica embraced streaming platforms more than a decade ago, and Spotify Technology SA’s subscription prices have stayed around $9.99 for years.
It’s time to think about the potential for radical change. For one thing, if this is the endgame for music, it would be a sad state of affairs. The streaming economy is crushingly unequal. It’s great for consumers and for labels and rights holders that have identified ways to live off royalties, as well as the most-listened to artists such as Taylor Swift and Ed Sheeran. It’s been less good for musicians lower down the ladder.
Nor has it been good for shareholders of Spotify or similar standalone music-streaming platforms like Deezer SA, with tough competition in a saturated market threatening their pitch as high-growth tech plays. Platforms also have limited negotiating power with the record labels and rights holders who are keen to maximize the value of their hit songs and star artists. Spotify has never turned an annual profit; it seems to be in “perennial start-up mode,” as music royalties expert Phil Bird recently put it.
With inflation and economic slowdown eating into growth — MIDiA Research analyst Mark Mulligan estimates 2022 global streaming revenue may have risen by just 7% — and with profits at Spotify likely to be elusive for a few more years yet as it funnels more money into podcasts and audio books, what are the options to get out of start-up mode?
One is to hike prices, as Apple Inc. recently did. Music is very good value – paying $10 a month works out to a few cents per hour. Former Spotify economist Will Page noted in 2021 that the price of a glass of Malbec wine had doubled since 2009 despite offering no significant improvements for consumers, while songs cost the same despite an explosion in the depth of music libraries, personalization and algorithmic curation.
Higher prices would certainly enlarge the overall economic pie. It might even create some incentives to change the unequal way subscription fees flow into an overall pot that favors the biggest artists regardless of what individual subscribers choose to play.
But the halving of Spotify’s stock price last year indicates that this move is fraught with risk. Nobody can predict what price hikes will do to demand in a fragile economy. We’re close to saturation, with platforms only able to add subscribers by stealing from others. Spotify is up against big tech firms that view music as a loss leader, bundled in with other services.
Spotify seems to be pursuing an alternative course, disrupting its own core product by folding into a new kind of tech offering pitched as the “Spotify machine” to investors. Co-founder Daniel Ek’s vision is to create a platform for all things audio, from music to podcasts to audiobooks. More products would lock in more users at a higher subscription price, along with increased advertising revenue and more sophisticated algorithms and payment mechanisms to bind it all together. The plan has some eyebrow-raising targets, including a $100 billion annual revenue figure in the coming decade that would put it in the same league as Citigroup Inc. or WalMart Inc.
Yet here again, the risks are high. The story of different audio streams converging and fattening profit margins is taking a long time to come to fruition; Jefferies analysts expect Spotify’s gross margins to be below 2021 levels until 2024. The podcasting bubble has also deflated, with no guarantee that Spotify’s move into the spoken word will be profitable this year. Audiobooks look like yet another long-term journey. The idea that these investments won’t eat into appetite for music is also debatable: The potential for surprises when one platform hosts both Neil Young and Joe Rogan has become obvious.
There’s something even bigger potentially on the way: Artificial intelligence. ChatGPT and tools like it are already being treated in the way Napster was treated by Metallica, with lawsuits and boycotts. It’s only a matter of time before AI-generated music starts to invade music platforms — you can already listen to music aided by AI on Spotify — and the rise of auto-tuned vocals and drum loops in pop music have made humans easier for machines to imitate.
Of all the changes on the horizon, AI could derail all sorts of long-term plans. Record labels already accuse Spotify and others of filling their platforms with flotsam and jetsam, diluting the market share of star artists (and by extension their negotiating power) by accepting all kinds of independently distributed music. AI-generated music, especially if it didn’t require payouts to artists or labels, would upend the industry.
This probably wasn’t what the architects of the post-Napster revolution had in mind. It means governments and regulators will have to keep a close eye on what happens to the music industry; given one in three music jobs was lost during the pandemic in the UK, another wave of disruption would hurt. As Spotify kicks its machine into high gear, and as techies turn their hand to literal Metal Machine Music, things will get noisy.
18 January 2023, 21:10 | Updated: 19 January 2023, 13:01
From Tár to Amadeus – the greatest films about classical music.
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When classical music and film come together, magic can happen. Join us as we explore some of the all-time great films about classical music and musicians.
We hear so much great film music soundtracking our favourite films, but what about when the music itself is the basis for the plot?
From the Golden Globe-winning Tár, starring Cate Blanchett as a tyrannical and troubled maestro, to the impending biopics about the lives of Leonard Bernstein (Maestro), and Joseph Boulogne(Chevalier), 2023 is set to be classical music’s biggest year in Hollywood to date.
And as the formerbegins to sweep the floor at this year’s award ceremonies,we look back more than 80 years, to some of the most memorable times that Mozart has met the movies.
Read more: The 50 best film scores of all time
Amadeus (1984)
Telling the tale of Mozart’s life, and the rivalry between Mozart and fellow composer Salieri, this 1984 film was a huge success at the box office. The composer was baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, but often called Wolfgang Amadeus Mozart – from which the film’s title is taken. This film is a real staple of classical music represented on the big screen.
The Pianist (2002)
A moving biographical war drama, adapted from the memoirs of Polish-Jewish musician, Władysław Szpilman. After hearing Szpilman play a Ballade by Chopin, a German officer takes pity on the pianist and offers him food and shelter.
Read more: The Pianist: what’s the music, is it a true story and did Adrien Brody really play the piano?
Adrien Brody as Wladyslaw Szpilman in The Pianist (2002).
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Tár (2023)
Cate Blanchett won a ‘Best Actress’ Golden Globe for her portrayal of Lydia Tár, the fictional first female conductor of a major German orchestra. While brilliantly scored by Joker composer Hildur Guðnadóttir, and peppered with references to Leonard Bernstein, Marin Alsop and even Deutsche Grammophon, Blanchett has since said of Tár, “It’s not a film about conducting [or] even really about classical music. It’s an examination on the corrupting nature of institutional power.”
Rhapsody in Blue (1945)
George Gershwin’s music is almost as exciting as his life story in this biographical film, starring Hazel Scott, a leading jazz virtuoso of the 20th century. Gershwin, played by Robert Alda, may be a driven composer, but his need to succeed eventually destroys his relationships.
Hazel Scott on the set of the Film ‘Rhapsody in Blue’ (1945).
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Fantasia (1940)
Each of the mini stories in this Disney film are based on a piece of classical music, including Bach’s Toccata and Fugue in D minor, Tchaikovsky’s Nutcracker Suite, and The Rite of Spring by Stravinsky. Memorable highlights include Mickey Mouse attempting to perform magic tricks to the sound of the Sorcerer’s Apprentice by Dukas.
Fantasia (1940).
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Coco Chanel & Igor Stravinsky (2009)
A wonderful combination of passionate music and a passionate love story, set in Paris at the time of the premiere of Stravinsky’s The Rite of Spring. Both Coco Chanel and Igor Stravinsky took Paris by storm with their radical ideas in their respective fields of fashion and music.
Mads Mikkelsen and Anna Mouglalis star in Coco Chanel and Igor Stravinsky (2009).
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A Late Quartet (2012)
Philip Seymour Hoffman and Christopher Walken star in this musical film, released in April 2013. It tells the tale of the four members of a quartet, struggling to stay together in the face of adversity.
Read more: 11 actors who learned to play a musical instrument for films (and one who definitely didn’t)
Philip Seymour Hoffman and Christopher Walken star in A Late Quartet.
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Paganini: The Devil’s Violinist (2013)
Telling the story of Italian violinist and composer Niccolò Paganini, this film set in the early 19th century stars David Garrett as the eponymous hero. Asked what he thought the differences were between him and Paganini, Garrett responded, “Not even that much. He was maybe slightly more eccentric.”
David Garrett stars in Paganini: The Devil’s Violinist.
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The Piano (1993)
Featuring a best-selling soundtrack by Michael Nyman, The Piano is set during the mid-19th century, detailing the story of a mute pianist and her daughter when they are abandoned on a beach in New Zealand. The pianist, Ada, may not be able to talk, but she communicates through the music of the piano.
Holly Hunter and Anna Paquin star in The Piano.
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Immortal Beloved (1994)
Gary Oldman stars in this 1994 film, investigating the identity of Beethoven’s ‘Immortal Beloved’. The mystery object of Beethoven’s affections is mentioned in letters written by the composer, which were acquired by his biographer, Anton Schindler.
Gary Oldman stars as Beethoven in Immortal Beloved (1994).
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Florence Foster Jenkins (2016)
Meryl Streep starred opposite Hugh Grant in Florence Foster Jenkins, the comedy that follows the real-life New York heiress known for her quite terrible singing, on her path to fame in the opera house. Streep’s achingly funny imitations of Florence’s inept takes on the ‘Queen of the Night’ aria and ‘The Laughing Song’ are a highlight.
Read more: The real story of American heiress Florence Foster Jenkins, the ‘world’s worst opera singer’
Hugh Grant plays Foster Jenkins’ manager and husband, St. Clair Bayfield.
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Impromptu (1991)
Moving from romantic comedy to Romantic piano music, Hugh Grant is the unlikely choice to play Chopin in this biographical film. It tells the tale of Chopin’s love affair with the French novelist known by the pseudonym George Sand.
Hilary and Jackie (1998)
Documenting the life of world-renowned cellist Jacqueline du Pré, this film portrays her rise to fame, her marriage to conductor Daniel Barenboim, and her tragic untimely death. It’s based on the memoirs of Jacqueline’s sister, Hilary, who stood by her account even after the film attracted controversy for allegedly distorting details in Jacqueline’s life.
Emily Watson stars as ‘Jackie’ du Pré.
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Quartet (2012)
Four members of a retirement home come together to form a vocal quartet, so they can perform music from Verdi’s Rigoletto. It just so happens, however, that these four performers happen to be retired opera singers, with a complicated past…
Billy Connolly and Maggie Smith star in Quartet (2012).
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August Rush (2007)
After escaping a boy’s orphanage, 11-year-old musical prodigy Evan Taylor arrives in New York City where his talent is uncovered by a slew of characters and he takes on the stage name ‘August Rush’. With renowned musical institutions featuring throughout, including the Juilliard School and the New York Philharmonic, the film is a heartwarming reminder that, “music is all around us, all you have to do is listen”.
Freddie Highmore conducts orchestra in August Rush (2007).
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There’s a wide array of folks who carefully examine country music, whether in print journalism, broadcasting or both. Many have published or are publishing books; some are also musicians. We’ve invited a handful to share their take on the present and future of country. Read a sampling of their responses on topics from artists who deserve more recognition to the biggest challenges facing the industry in the year to come.
Respondents:
Jessica Blankenship: owner and founder, Kentucky Country Music; Nashville News Roundup correspondent, WFKY-FM; executive director, Kentucky Music Hall of Fame & Museum
David Cantwell:Rolling Stone Country
Rachel Cholst:No Depression; Rainbow Rodeo; Adobe & Teardrops; Nashville Scene
Sunny Sweeney, “Easy as Hello”; Zach Bryan, American Heartbreak—Jessica Blankenship
Paisley Fields’ “Jesus Loving American Guy” is a delightful kick in the ass. I wish Jamie McDell’s self-titled debut received more love. She’s an accomplished lyricist and explores feminism (and femininity) in really beautiful ways. —Rachel Cholst
“Middle of a Heart” by Adeem the Artist unpacks the toll of PTSD and American gun culture within the structure of a classic country ballad. Absolutely brilliant, empathetic songcraft from a queer artist out of East Tennessee doing the work of humanizing the right-wing, flag-waving crowd that’s working to dehumanize the LGBTQ+ community. —Hunter Kelly
Nothing else is even close to Tami Neilson’s Kingmaker. The most original, invigorating voice in country music, in both her vocal delivery and songwriting, in a very long time. —Amos Perrine
Kane Brown’s “Whiskey Sour” showcases his emotive phrasing alongside 2022’s best fiddle work. Tami Neilson’s Kingmaker is a tour de force feminist statement that fearlessly diagnoses country music’s ailment while embodying a cure. —Kevin Coyne
Tanya Tucker’s “Ready as I’ll Never Be” has been on repeat. Orville Peck’s Bronco is a really fun record full of songs and fuckin’ and fightin’. —Amanda Haggard
Does Amanda Shires still count as country? Everyone seems to think so — though I have my doubts — so I’ll go with “Hawk for the Dove” and Take It Like a Man. —Justin Cober-Lake
“Thank God” by Kane Brown and Katelyn Brown is a beautiful duet expressing praise, joy and thanks that could only be from two people sharing their love and devotion to each other. Miko Marks’ Feel Like Going Home is a definitive personal statement that reveals her tremendous vocal ability and mastery at storytelling and is a testament to perseverance from someone who is finally enjoying the adulation she’s always deserved. —Ron Wynn
In an extremely strong year for country albums, my favorite was Molly Tuttle’s popgrass Crooked Tree. Tied with the title track, my favorite song was Tuttle’s pluralist anthem “Big Backyard” — full of sing-along fun and political potential. —David Cantwell
No song hit me harder or more consistently than Molly Tuttle’s “Crooked Tree,” a loving tribute to difference that manages to avoid easy clichés of either inspiration or pathos. I hope it becomes the standard that it already feels like. Jake Blount’s The New Faith is the kind of album that remakes the world. Blount confronts the genocidal American past and our climate-catastrophic future by drawing from the linked traditions of Black spirituals/freedom songs, work songs and blues to see what musical, political and survival strategies might be gleaned from them. The songs envision the future by reckoning with and then remixing the past, which is perhaps the core mission of country music. —Charles L. Hughes
What song or album was the biggest disappointment of 2022?
I applaud how Tyler Childers approached the gospel set Can I Take My Hounds to Heaven? through a multiplicity of sounds and arrangements. But the only disc I’ve returned to is the third — the “Joyful Noise” versions — where Childers deconstructs the songs into unexpected components, adding samples, noise and a welcome dose of strangeness. While the first two discs seem like a missed opportunity, I have a feeling the third will be in my rotation for a while, and we all know that hitting one-third of the time will still get you in the Hall of Fame. —Charles L. Hughes
It’s more a lack of imagination from the mainstream when it comes to saying anything in the music. Male artists lazily rehash tired trends from the 2010s while their wives parrot retreaded, tired lies about the queer community from Anita Bryant’s 1970s. —Hunter Kelly
Aside from the obvious horrible stuff, country radio not seizing the more “traditional” songs from women like Maren Morris (“I Can’t Love You Anymore”) and Kelsea Ballerini (“You’re Drunk, Go Home”). —Marissa R. Moss
Zach Bryan is a good writer, and his chasing the algorithm makes total sense, but it means that a half-dozen worthwhile tracks are buried under dross. —Steacy Easton
Orville Peck’s Bronco. —Amos Perrine
Maren Morris’ Humble Quest wasn’t bad — it just didn’t quite get there for me. She’s still awesome. —Chris Parton
Carrie Underwood’s Denim & Rhinestones, where she threw all of the nuanced vocal technique from My Savior out the window and went full ’80s hair band. —Kevin Coyne
I wanted to love Kane Brown’s “Like I Love Country Music” and just couldn’t. On both general principle and the album’s merits, Jason Aldean’s Georgia is trash. —Dr. Tressie McMillan Cottom
It’s hard for me to say anything negative about Willie Nelson, a favorite since Red Headed Stranger. I wanted so much to love A Beautiful Time, and I applaud the fact he’s still making new music at 89 — and that the audience is willing to listen. But I cannot honestly say this ranks with his classic releases. —Ron Wynn
Justin Hiltner
Photo: Eric England
Who was your favorite country artist who flew under the radar in 2022?
Sunny War —Kelly McCartney
Autumn Nicholas —Marissa R. Moss
Teddy and the Rough Riders —Justin Cober-Lake
Valerie June deserves the same attention given to performers like Mickey Guyton. —Ron Wynn
Country gospel tends not to be thought about. Brent Cobb’s And Now, Let’s Turn to Page … is very good. Justin Hiltner’s A Place at the Table is both a brilliant gospel album and also a genius example of the queer unsettling of the form. —Steacy Easton
Mariel Buckley’s look at small-town life from a queer perspective on Everywhere I Used to Be merges the joy and alienation so many of us in the queer community feel every day trying to find a space in country. —Hunter Kelly
Morgan Wade and Ian Noe’s real songs about life never go out of style, and both have unique voices. —Jessica Blankenship
Melissa Carper’s Ramblin’ Soul is perhaps her best in a string of delightful records. —Charles L. Hughes
The Reklaws had a Canadian No. 1 with “11 Beers.” It didn’t get American radio play — a shoulda-been summertime hit. —Chris Parton
I wish everyone would spin Maddie Zahm’s You Might Not Like Her at least once. —Dr. Tressie McMillan Cottom
A Canadian living in New Zealand, Tami Neilson makes few U.S. appearances — only two in 2022, one at AmericanaFest. Having released four great albums in a row with no airplay here, it’s as though she’s in the Mariana Trench. —Amos Perrine
Breland’s fusion of ’90s country with contemporary pop and hip-hop on Cross Country deserves to break through. —Kevin Coyne
Gabe Lee has been one of my favorites since his 2020 release Honky Tonk Hell, and in 2022, the Nashville native put out The Hometown Kid, a great ode to Music City. —Kristin Hall
I felt like S.G. Goodman was under the radar and then suddenly was everywhere all the time. —Amanda Haggard
Jessye DeSilva’s Landscapes is a gorgeous illustration of folk-rock’s staying power. Their lyrics are almost as lush as their vocals. They also do so much to support the LGBTQ+ country community and led The Black Opry Revue’s band at AmericanaFest. —Rachel Cholst
Denitia
Photo: Noelle Fries
Who do you hope will make waves in 2023?
H.C. McEntire —Kelly McCartney
Denitia —Rissi Palmer
Hailey Whitters —Chris Parton
Martha Spencer —Amos Perrine
Tami Neilson —Justin Cober-Lake
Roberta Lea, Jordyn Shellhart, Bella White, Jake Blount, Miko Marks —Marissa R. Moss
It’s time for Mya Byrne to take center stage with her Aaron Lee Tasjan-produced Rhinestone Tomboy. Country has become ground zero for transgender backlash, and I can’t wait for Mya to continue to defy it. —Hunter Kelly
We have the strongest female performers since maybe the 1990s — and though they do well on awards, they appear on the radio less, and I think are written about less. As much as I loved Palomino, it would be nice if non-country critics wrote like there were more women making country music than Miranda Lambert. —Steacy Easton
The Black Opry Revue made a huge splash in 2022, and I’m excited to see all of the triumphs coming their way in 2023. —Rachel Cholst
After Patty Loveless brought the house down at the CMAs, I want to see her long-overdue induction into the Hall of Fame and for her to get back on the radio with one of those Stapleton duets. —Kevin Coyne
Roberta Lea, set to release her debut full-length, has the potential to not only be a crucial voice in the ongoing Black country renaissance, but also to score hits with her catchy, textured and beautifully sung originals. Lea is one of the many artists in the Black Opry community who sound equally at home in both mainstream and Americana formats, and demonstrate the slippery and incomplete distinctions between them. —Charles L. Hughes
I see Lainey Wilson and The Steel Woods continuing from the momentum of 2022. Kentucky’s singer-songwriter scene continues to grow with Nicholas Jamerson, Grayson Jenkins, Cole Chaney, Brit Taylor, Angaleena Presley and more. —Jessica Blankenship
I am always here for Joy Oladakun’s takeover. —Dr. Tressie McMillan Cottom
Brittney Spencer is going to blow the roof off 2023, I guarantee it. —Kristin Hall
Jake Blount and Jessy Wilson are striking artists whose music has country roots, but also is steeped in blues sensibility and soulful edge. Sadly, their sound may be too country for Black radio and too Black for country radio. —Ron Wynn
What was the country music industry’s biggest mistake of 2022?
So many things in country music that appear to be a mistake are actually intentional and engineered — the way things always are and always have been. The biggest hurdle in the way of a better future is for all of us to acknowledge that fact. —Marissa R. Moss
Framing the social media exchange between Brittany Aldean, Maren Morris and Cassadee Pope as interpersonal beef or a harmless catfight. This is about people’s lives. Rather than making this a moment for educating about why trans rights are important, the media focused on the personalities. Most egregiously, nobody centered trans voices — particularly those of trans country artists. —Rachel Cholst
The continued attempt to play dumb and uninformed about politics to avoid backlash when you’ve shared the stage with Ron DeSantis or other anti-LGBTQ zealots is wearing especially thin. It’s even more pronounced when the leaders of the anti-LGBTQ movement, namely Matt Walsh, are leading the threats against programs for LGBTQ youth at Vanderbilt University, literally a few blocks from Music Row. —Hunter Kelly
Big Country thinks it can be a big-tent genre by being homogenous. It makes money but it kills the music. It cannot go on forever. Ask rock music. —Dr. Tressie McMillan Cottom
Not making the whole year about Loretta Lynn. —Chris Parton
Not giving Naomi Judd her flowers when she was still here to receive them. —Kristin Hall
Country’s re-embrace of Morgan Wallen — and the way that plays into larger narratives of white redemption that have been central to U.S. racial politics in music and elsewhere — was a predictable yet massive failure. The rise of the “uncancelable” rhetoric surrounding Jason Aldean and others signaled that mainstream country is yet unwilling to commit to fundamental change. Violent attacks on LGBTQ+ people are being supported by some of country music’s biggest stars, while those who speak out against bigotry, like Maren Morris, are attacked as outsiders. In contrast with the astonishing number and variety of powerful records by queer country artists this year, this retrenchment of power players around reactionary politics is both predictable and deeply disappointing. —Charles L. Hughes
Every country critic has a list of queer, women, gender-nonconforming and BIPOC country artists who are making the best music of their lives right now. They don’t show up on the radio, and aren’t considered as part of the Opry discourse. That seems doctrinaire, among certain kinds of leftists, but it has reached a crisis pitch for me — especially considering the rise of anti-trans and anti-queer sentiment and legislation. Also, put Freddy Fender in the fucking Hall of Fame already. —Steacy Easton
What is the biggest issue facing country music in 2023?
Whether the commendable steps taken to broaden country music continue in 2023 — or begin to fade. A backlash seems to always set in whenever progress is made, and no doubt there are those in the country audience tired of hearing about diversity and inclusion. Those people fail to understand that by embracing those issues, you have a chance to hear a much wider, more intriguing menu of music. —Ron Wynn
Black artists still really have to tiptoe around in country music. —Amanda Haggard
Saying nothing about country’s unbearable whiteness merely encourages extremists (and the people they mobilize) to lay claim to a tradition that belongs to everyone. When mainstream country orgs only make halfhearted gestures at diversity, historically marginalized artists only become more alienated. —Rachel Cholst
Monopolistic control over venues and touring is not just a problem in country music, but the genre has a lot to lose if fans distrust the ticketing process or are priced out of live shows. —Kristin Hall
Look at critics’ lists of best albums for 2022 or the main categories at the Grammys, and you’ll see mainstream country is largely left out. Lack of musical innovation and an insistence to never challenge far-right fans’ views is rendering commercial country music irrelevant to the rest of the world. —Hunter Kelly
The continuing need to broaden who and what is considered “country” and to recognize that the best music comes from artists who are putting one foot in the past and one foot in the future. This is about making an actual effort to expand the field of who benefits from mainstream resources as well as avoiding the poisonous language of musical purism. —Charles L. Hughes
The fracturing of the genre into two halves — one of which I am worried is a little too self-serious, and one of which I feel is complicit in murderous violence against queer and trans folks. When casual racism and homophobia are rewarded, that tightens and narrows what the genre might support in the next few years — while some of the best music created in decades gets pushed to the outer edges. —Steacy Easton
What is the biggest hurdle to making important changes in the industry in 2023?
For the past two years, the focus has been inclusion and diversity, and then this year, it felt as if everyone said, “Whew, glad we solved that!” I hope the industry as a whole (not just the usual suspects who do a lot of the work) takes a real, unflinching look at itself and figures out how to be truly diverse and inclusive. Changing hiring and promotion practices as well as decisions on who really gets a seat at the table is key, because who’s making the calls is more important than who’s singing the songs. Also, making sure that diverse hires aren’t going to just uphold the status quo is extremely important. A yes man is a yes man. —Rissi Palmer
Not making changes and not having hard conversations led to Morgan Wallen’s runaway success. The bottom line is booming, so no one in power actually checks Jason Aldean’s fascist wife for fear of alienating a core artist. They’ll keep trying to pretend everything is fine to keep the money rolling in. —Hunter Kelly
The notion that authenticity means narrowing scope. By acting as though it were the ’40s or the ’50s, country always risks acting like the rigid, narrow, restrictive music its detractors claim it is, instead of the varied, compelling sound that it’s always been at its best. —Ron Wynn
At this point, I’m pretty sure people are scared to put their money where their mouth is. They are also afraid to admit when they are not the right people to make these changes. I hope industry leaders understand this about themselves and empower people with the skills and know-how to take leadership roles — if not the outright leadership role — in their organizations. —Rachel Cholst
Can’t decide if it’s those music bizzers and fans who want country to stay de facto Jim Crow. Or if it’s those good folks who believe country must change but lack any real sense of, you know, urgency about it. Flip a coin. It’ll come up white people either way. —David Cantwell
We talk with Chapel Hart, discuss the intersection of trans rights and roots music, take a deep dive into data and more
His latest single teases his upcoming debut solo EP, ‘COM.PLEX’
MANILA, Philippines – SB19’s Ken Suson is striking out on his own with the release of his latest single “ROCKSTA” under his solo project Felip.
The track was released on Thursday, January 19, along with a music video. In the track, Felip leans into hip-hop and R&B for the short but memorable track, which clocks in at 1 minute and 47 seconds.
The song teases Felip’s debut solo EP COM.PLEX, which is set to be released on February 3.
The EP comes after Felip released his first solo single “Palayo” in September 2021, followed by “Bulan” in May 2022.
He is the first member of SB19 to make his solo debut, but remains active with the group, which recently ended their first world tour. – Rappler.com
This collaboration is symbolic of the friendship between their families which goes back two generations. The tale goes that Rahman’s father, composer, arranger and musician RK Sekar, and Subramaniam’s father, Prof. V Lakshminarayana, used to live on the same street in Mylapore, Chennai.
Published Date – 04:15 PM, Thu – 19 January 23
Hyderabad: Celebrated musicians AR Rahman and Dr. L Subramaniam have joined hands to celebrate commonality and the gift of life virtually at the Lakshminarayana Global Music Festival. The composer and violinist have rendered a musical tribute to violin legend Prof. V Lakshminarayana.
This collaboration is symbolic of the friendship between their families which goes back two generations. The tale goes that Rahman’s father, composer, arranger and musician RK Sekar, and Subramaniam’s father, Prof. V Lakshminarayana, used to live on the same street in Mylapore, Chennai.
This special collaboration, which has been rearranged by Rahman and Subramaniam, features the artists in their family along with the duo. Centred on “Don’t Leave Me”, a song composed by Dr. L Subramaniam that Rahman grew up with, the music video comprises performances by Rahman’s children Khatija Rahman, Raheema Rahman, AR Ameen, and Subramaniam’s daughter Bindu Subramaniam and Subramaniam’s granddaughter Mahati Subramaniam, along with the musicians’ dear friend and illustrious percussionist Sivamani.
About the rendition of “Don’t Leave Me”, Rahman says, “Here we are: three generations at the Lakshminarayana Global Music Festival. The friendship between our two families goes back two generations. In celebrating and honouring the violin virtuoso, Dr. L Subramaniam’s father, Prof. V Lakshminarayana, our families have come together to perform a song I grew up with, ‘Don’t Leave Me’, composed by Dr. LS whose timeless instrumentation and compositions continue to enrich, inspire, and influence all generations.”
Rahman adds, “Through this collaboration, we celebrate music and friendship, and hope that this tribute brings people together to not think about their differences but to see how we may all unite to create art and change.”
It opens with a spellbinding improvised composition by Rahman and Subramaniam who are joined by Sivamani as the trio renders a delicate piano, violin and percussive intro. Combining the worlds of Indian and Western classical music, the instrumental tribute is a bridge between the past and the future, tradition and innovation, celebration and commemoration. It notably also features a spoken word performance by Bindu Subramaniam that’s dedicated to her grandfather, Prof. V Lakshminarayana and the divine.
About the collaboration, Dr. L Subramaniam says, “It gives me immense pleasure and honour to collaborate with one of the greatest film composers and a visionary musician ARR. We have recorded a composition called ‘Don’t Leave Me’ which is dedicated to my father and guru Prof. V Lakshminarayana. This video has three generations performing together for the Lakshminarayana Global Music Festival 2023. Thanks a lot to ARR for his magic touch.”
Listen to the composition here: https://www.youtube.com/watch?v=8hVxBFrQ-Ps
It may be time to add some energetic pop music to your soothing sleep playlist.
A team of Denmark researchers found there is not a “one size fits all” genre of music people play to fall asleep.
“It was surprising to see how many different types of music people use for sleep,” Kira Vibe Jespersen, an assistant professor at the Centre for Music in the Brain at Aarhus University, told The Post in an email.
“Not only different genres, but also different audio characteristics … ranging from slow, soothing instrumental tracks to more energetic uptempo pop music.”
The authors of the study, published this week in the journal PLoS One, analyzed more than 200,000 songs from nearly 1,000 Spotify playlists associated with sleep.
Billie Eilish performs at The O2 Arena on June 10, 2022, in London. Samir Hussein/Getty Images for L
While the researchers said they have not collected data on if uptempo music actually helps people sleep, they do know people use it for sleep.
They were able identify six distinct sub-categories of music that people turn on when it’s time to get some shut eye.
Co-author Rebecca Jane Scarratt told SWNS that three of the subcategories, including ambient music, align with the typical characteristics identified for sleep music. However, the music in the other three subcategories was louder and more energetic.
“These tracks included several popular songs, including ‘Dynamite’ by the band BTS, and ‘Lovely’ by Billie Eilish and Khalid,” Scarratt said.
The authors also list “Jealous” by Labrinth, “Falling” by Harry Styles, and “The Scientist” by Coldplay as popular additions to sleep playlists.
While the researchers said they have not collected data on if uptempo music actually helps people sleep, they do know that people use it for sleep. Getty Images
In some cases, familiarity with songs — even loud tunes with vocals — may help with relaxation.
“Our hypothesis is that familiarity with the music makes the music very predictable to the brain, and this predictability may enable sleep, despite the music being upbeat and energetic,” Jespersen told the PA news agency.
“We are currently working to test this hypothesis.”
BTS performs during the iHeartRadio KIIS FM’s Jingle Ball show at the Forum on Dec. 6, 2019, in Inglewood, California. WireImage
The researchers still have data to collect. Without any sleep data from the music lovers, Jespersen said, they can’t be certain that tunes with a higher degree of energy help induce sleep.
“People listen to music at bedtime for different reasons. One reason can be to facilitate relaxation, but music may also be used for mood regulation, distraction or for masking external noise,” she added.
Scarratt said these findings could “both inform the clinical use of music and advance our understanding of how music is used to regulate human behavior in everyday life.”
And that proximity suits Sudbin’s way, which is to reveal every intricacy of the works he plays, to allow absolutely everything to be heard. His technical command is unbelievable, particularly as witnessed from within a few feet. I noted that there were a good number of children there; all were impeccably behaved, proof that the effect of being right there up front to hear playing of this quality and depth is very powerful indeed.
In the past decade since this review, Sudbin has kept going to develop his careful art of constructing recitals contrasting different periods of music, as pioneered by Horowitz. And he has also been thinking about it, a lot: the detailed and often provocative six-page programme note about the works in last night’s programme, and also on the links between them, was researched, written and meticulously thought through…all by Sudbin himself.nThat sense of bringing a logic to a programme has consequences, namely that the listener is taken on a specific journey on the evening. And somehow never short-changed. Sudbin has an astonishing way of balancing things up, of making the whole recital being much bigger than the sum of its parts.
That was certainly true of the contrast and balance he brought between the opening two works. When he writes about Haydn’s B minor Sonata, one of the few sonatas which Sviatoslav Richter also played in his day, Sudbin mentions in his note a “frenzy and despair” which is perhaps the rarest thing of all in Haydn’s music. And yet I couldn’t help noticing that Sudbin’s way with this work is make it airy and infinitely delicate, with a particularly appealing way of holding back and allowing the music to breathe, hovering over a delicate arabesque at the end of a phrase, letting it hang in the air for a moment, loving it, enjoying it. Then, by contrast, Sudbin clearly wanted Chopin’s Ballade No. 3 to sound darker, more laden with foreboding than, say, the version which he recorded in around 2010. And yet, in its context in the recital, it was the kind of reading which felt totally right. Similarly, in the last programmed piece, Ravel’s “Scarbo” from Gaspard de la Nuit, Sudbin has written in his note “even the pauses are scary” and those moments when there might have been momentary release through delighting in a fragment melody were eschewed. But that was resolved more or less straight away by the pair of encores, both sonatas by Scarlatti, Kk466 in F minor and Kk455 in G major, which provided the complete contrast, the release, the balance which was needed.
The centrepiece was Scriabin’s Fifth Sonata. In his programme essay, Sudbin is fascinating on the subject of quite how many varying moods a single Scriabin chord can evoke in different contexts. In his playing, the way in which Sudbin opens up the listener to Scriabin’s world is surely as persuasive as that of any pianist of our time.
More on the venue (pictured above by Paul Tanner): it’s in Vauxhall, just a couple of minutes’ walk from the new Nine Elms Northern Line station. It also serves as a gig venue for up to 200, and as a resource for performance and recording for the music education charity which runs the space. This was an early event in the new hall, mainly for supporters of the charity. World Heart Beat Embassy Gardens might never be a name that trips off the tongue easily, and Londoners can be so sniffy about the feel of new spaces: I can’t help wanting to wish it well. After all, it took several years and hundreds of broadly-programmed events for Kings Place to shrug off its doubters, and WHBEG hasn’t even begun on that journey. Good luck!
Sleep Token are off to a fast start to kick off 2023. Today (January 18th), the anonymous U.K. collective — who perform in masks and black hoods — surprise-released their third single of January: “Granite.” The song follows up “Chokehold” and “The Summoning,” both released during the first week of the month, and like its predecessors, it finds the group in stunning form, stretching from crystaline pop to crushing metallurgy. “Granite,” in particular, presents these contrasting sides to Sleep Token’s split personality in stark relief, giving no hint of the coming heaviness through most of its runtime before dropping the hammer.
Also, like the two preceding singles, “Granite” arrived with a striking CGI video showcasing a sci-fi-looking retro-futuristic warrior creature, this one with a cubic head and medieval-looking armor, brandishing two axes. Watch and listen above.
No word yet on whether Sleep Token’s three 2023 songs herald an imminent new album or not, but stay tuned for more surprises.
After an incredible inaugural year that welcomed 50,000 fans, GoldenSky Country Music Festival is headed back to Sacramento in 2023 with a massive lineup led by Eric Church, Sacramento’s own Jon Pardi, Maren Morris and Parker McCollum.
The second annual event, produced by Danny Wimmer Presents in partnership with Visit Sacramento, will return to its home at Discovery Park in Sacramento, CA over the weekend of October 14 & 15. The packed entertainment lineup also includes Jordan Davis, Country Music Hall of Fame member Wynonna Judd, Lainey Wilson, Elle King, Eli Young Band, Niko Moon, Ingrid Andress, Nate Smith, Adam Doleac, Frank Ray, Tenille Arts, Drake Milligan, Megan Moroney, Kidd G, Willie Jones, Lakeview and Avery Anna.
Weekend and Single Day General Admission and VIP passes for GoldenSky Country Music Festival are on sale now at www.GoldenSkyFestival.com.
”We’re thrilled to partner with DWP to bring the West Coast’s premier country music experience back to Sacramento,” said Visit Sacramento President & CEO Mike Testa. “This year’s incredible lineup, coupled with unique local activations and Sacramento as the backdrop will make for an unforgettable weekend. We can’t wait to welcome music fans from across the country back to our city.”
“The overwhelming response from the fans and the music industry alike leaves no doubt that last year’s GoldenSky officially put Sacramento on the map as a destination for festivals,” says Danny Hayes, CEO of Danny Wimmer Presents. “We are honored to be able to showcase all the amazing things the city and county have to offer and look forward to cementing GoldenSky as a must-attend country festival for the region.”
The daily music lineup for GoldenSky Country Music Festival is as follows:
Saturday, October 14: Jon Pardi, Maren Morris, Wynonna Judd, Jordan Davis, Niko Moon, Ingrid Andress, Adam Doleac, Kidd G, Frank Ray, Lakeview
Sunday, October 15: Eric Church, Parker McCollum, Lainey Wilson, Elle King, Eli Young Band, Nate Smith, Tenille Arts, Megan Moroney, Drake Milligan, Willie Jones, Avery Anna
In addition to nearly two dozen music artists over two days, GoldenSky Country Music Festival will also feature an array of on-site experiences, including:
GoldenSky Beer Festival: The “festival within the festival” will showcase the best local, regional and national tastes with over 150 different selections of beer, hard seltzer and ciders each day. Open daily from 11:45 AM – 2:45 PM to patrons 21+. The GoldenSky Beer Festival is complimentary with all first 48-hour purchases, while supplies last. Starting January 20, GoldenSky Beer Festival passes can be added to festival pass purchases for as low as $15.00 + fees.
The Farmhouse: The Farmhouse, presented by California Bountiful promises to deliver a local food experience that will leave taste buds craving more! Attendees can take a load off and pick their pleasure amongst some of Sacramento’s finest dining establishments, and taste what makes Sacramento the Farm-To-Fork Capital of America.
El Dorado Market: Festival attendees can visit the El Dorado Market to shop the best of the Central Valley. Featuring unique finds rooted in Sacramento businesses, it offers the chance to shop small and support local retailers.
River City Saloon & Dance Hall: Music fans can boot-scoot into the River City Saloon & Dance Hall for a little dancin’, a little drinkin’ and a whole lotta fun! Daily activities include line dancing, partner two-stepping and lessons. There will also be a house DJ to freestyle with when the sun goes down, as well as Billy, the house bull that’s sure to be a buckin’ and broncin’ all weekend long.
Wines Of Sacramento: Sacramento is home to some of the best wineries in the world. With pours from the best in the heart of Wine Country, GoldenSky fans get a taste of what makes California wine a step above the rest.
Loud Lounge: Attendees can go beyond the music and experience the cannabis community in the festival’s very own Loud Lounge. Believing in the power of cannabis to enhance the communal and artistic experience, this is a gathering place for friends to network and celebrate. The lounge will offer everything from live music to live art and live performers all weekend long while educating patrons about cannabis culture. Must be 21+ to enter.
Sidelines Sports Bar: GoldenSky guests can watch their favorite NCAA, NFL and MLB playoff games at Sidelines Sports Bar, featuring the top can’t miss games of the weekend. Fans can grab a drink and pony up to the bar to stay up-to-date on all the action.
In addition, GoldenSky has partnered up with Goldfield Trading Post in Midtown Sacramento to find the best local country act to play the big stage at GoldenSky 2023. More details on how to apply will be announced in the Spring, with showcases live from Goldfield Trading Post happening this Summer.
For a full description of GoldenSky Country Music Festival weekend and single day VIP and GA passes and pricing, visit www.GoldenSkyFestival.com. Prices start as low as $69.99 + fees. In January and February, passes can be purchased starting as low as $10.00 down, with layaway payments amortized evenly through August. Hotel packages are also available.
GoldenSky Country Music Festival debuted in 2022 with 50,000 people in attendance for two full days of music, craft beer, farm-to-fork food and more. GoldenSky 2022 featured a spectacular lineup of top country music artists performing on three stages, including headliners Tim McGraw (Saturday) and Sam Hunt (Sunday) as well as Brothers Osborne, Midland, Carly Pearce, Parmalee, Michael Ray, Diamond Rio, Brian Kelley, Lindsay Ell and many more. The festival received rave reviews from patrons and the media and had a substantial economic impact on the Sacramento community.
ABC10 Sacramento said of GoldenSky 2022, “GoldenSky music festival helps boost Sacramento’s economy…enthusiastic country fans from all over the country made their way to Discovery Park for the GoldenSky country music festival.” Elsewhere, Sacramento Magazine noted, “Country music fans get their due at the inaugural GoldenSky, a two-day music fest in Discovery Park boasting some of country’s biggest names…” And Melodic Magazine raved, “From the last warm rays of summer during the days to the crisp fall evenings, the energy that radiated throughout the 2-day festival was electric. Attendees truly experienced a weekend to remember…Sacramento has definitely struck gold with this new tradition!”
GoldenSky 2023 is proud to host premier partners Jack Daniel’s, California Bountiful and Visit Sacramento, with more partners and experiences to be announced closer to the show. Greg Luehrs, Director of Partnerships for Jack Daniel’s, Brown-Forman Corporation said, “It’s been said that ‘somewhere between Nashville, the home of country music, and Memphis, the home of Rock ‘n’ Roll, lies Lynchburg, Tennessee, the home of Jack Daniel’s whiskey – the undisputed spirit of both musical traditions.’ To keep those deep connections alive and to continue supporting new generations of musical artists, Jack Daniel’s is proud to partner with GoldenSky, and year two will be bigger and better!”
For more information on GoldenSky Country Music Festival, please visit:
My morning routine goes either of two ways – either I waken early and it’s either straight up to my attic studio at 6.30am with a cup of tea, or else I’ll have a lazy lie-in.
2 What might you eat in a typical working day for…
Breakfast? I usually don’t eat breakfast.
Lunch? Before Christmas, I was living on prepared soups or salads for lunch.
Evening meal? Of late, the evening meal has been a microwave dinner.
3 Is nutrition important to you – do you take health supplements?
I take multivitamins every morning, but my diet could definitely improve – I have a very sweet tooth.
4 Ever been on a diet – if so, how did it go?
Yes, I’ve been on a diet a few times. The most extreme one consisted of a five-day juice diet where I consumed nothing but fruit and veg juices for five whole days. By day three, I was hallucinating cheeseburgers.
5 Weekend treat?
A weekend treat for me would be a cheeky wee Nando’s delivery.
6 How do you keep physically and mentally fit?
I like going on long walks. I walked part of the Camino de Santiago over two weeks in May and it was one of the best things I have ever done. I battle with depression, so it was also good for the head as well. I’ll definitely be going again next year.
7 Best tip for everyday fitness?
Hmm, you’re asking the wrong person, sorry.
8 Were you a fan of schools sports/PE or do you have a memory from those days that you would rather forget?
I wasn’t a fan of sports, really, except tennis. We had council grass courts where I grew up in Ballycastle and all of us kids were mad into it – all day, every day, all summer long. In school, however, for PE… well, I was often found skiving in the music department when that was happening…
9 Teetotal or tipple?
Teetotal.
10 Stairs or lift?
Depends on how many flights we are talking about.
11 What book are you currently reading?
Cocaine Nights by J.G. Ballard – a combination of crime thriller and dystopian fiction.
12 Best Netflix?
It’s Always Sunny in Philadelphia is a favourite and a great watch.
13 Most surprising thing you’ve learned about yourself over the pandemic?
I was surprised to learn that I’m pretty comfortable being on my own.
14 Any new skills or hobbies?
No new skills, but I’d love to train as a pilot – if anyone has a spare £100,000?
15 How do you relax?
I love going for walks, particularly near and around Ballycastle. There are so many spectacular walking routes up there, but my favourite place is the ancient woodland, Breen Oakwood. There is fairy magic in the air at Breen – you wouldn’t want to break a twig.
16 What are your goals for 2023?
To walk the Camino again and successfully co-write my first musical of the year: Mirrorball, for Replay Theatre Company, which is on the main stage at the Lyric Theatre in Belfast in March.
17 What time do you get to bed and do you think you get enough sleep?
I have been going to bed fairly early since the pandemic, but I usually fall asleep any time between 11 o’clock and 2am. I usually get five-to-eight hours sleep these days, which I think is fine.
18 Biggest gripe or regret?
My biggest regret is not seeing Prince live in concert before he died.
19 Have your priorities in life or perspectives changed?
No, they haven’t really changed. I just try to keep working on my mental health and try to be kind to others.
20 Has coronavirus changed your attitude towards your own mortality?
No, Covid hasn’t changed my attitude, at all. Depression has long been a more threatening illness for me. Coronavirus was devastating, but there are also mental illnesses in the world of which we have methods (medical and therapeutic) of managing, to some extent, but still don’t have full understanding of, or cures for. Although mental illness has become an acceptable part of the global and local conversations in recent years, I think it is still very much a taboo and a very difficult conversation to have. All I can say is: reach out for help, whether that’s to close friends or family, or to medical professionals. Life can be tough for any number of reasons, but it is still a beautiful and precious thing. And tomorrow can be better, even if we’re not able to see it today.
:: Garth McConaghie is composer and musical director for Replay Theatre’s Mirrorball which takes to the stage later this year and is also part of the creative team for Big Telly’s Frankenstein’s Monster is Drunk and the Sheep Have All Jumped the Fences being staged at the Naughton Studio at the Lyric, February 1-5.
