![]() There are no actual, real-life people behind the follower count though. “I am your biggest fan,” proclaims one follower, while another DM reads: “If you weren’t famous, what would you be up to right now?” ( Pretending to be famous, evidently.) Within seconds of creating an account on the app, the new follower notifications begin pouring in, along with a genuinely overwhelming amount of messages. TikTok Music could be a major step on that journey.Have you ever wondered what it would be like to be a celebrity on social media, flooded with notifications and DMs from adoring fans? Or maybe what’s it’s like to have a video go viral overnight? Well you don’t need to wonder any more, because an app titled Hype Simulator can give you a taste of the experience without any of the effort that goes into the real thing. ![]() Yet, over time, TikTok’s creation, distribution, and consumption will become ever more self-contained, making TikTok part of what MIDiA identified as the music industry counter-culture. Right now, artists are pumped into the system by label marketing teams, and independent artists can push out of the system into traditional streaming with SoundOn. It is a self-contained, virtuous cycle – An ecosystem. Creation comes from the audience, who then distribute and market the content (via the user-centric algorithm framework, user shares, recreation, and other means), and then, of course, the audience consumes. TikTok achieves these with its superpower: its audience. ![]() In the traditional streaming value chain, you have creators, rights, distribution, promotion, and consumption. All of this is why a TikTok Music service could be so exciting as it could provide both the creative and cultural context, not just the stripped-down audio file.Įcosystem: The single most important factor of all though is TikTok’s ecosystem play. Movie soundtracks do well as formats, but they only exist because of the movies as that is where the real value lies. Music is the soundtrack and often the catalyst to this ‘consumption’, but when that music is listened to on streaming, it is stripped of all that creative and cultural context – It is like only listening to the soundtrack of a movie. ![]() This is before even considering the importance of ‘lean through’ creative behaviour, such as doing a duet or a dance challenge to your favourite artist’s new track. It is not just consumption either, it is consumption that streaming cannot replicate. What is more, much of the ‘discovery’ that happens on TikTok is consumption. Now, people (younger audiences in particular) discover most of their new music on TikTok or YouTube before going to radio-like streaming services to consume it. Perhaps TikTok Music Twitter profiles point to something bigger and bolder than Resso.ĭiscovery is consumption: People used to discover music on the radio and then go and buy it. The music business needs the maturing streaming market to be about growth, not substitution. Of even more relevance to the music business, unless rightsholders can empower ByteDance’s streaming offering with something truly different, is the risk that its growth will largely comprise of switching Spotify subscribers. This will drive differentiation and help the industry carve out genuine new growth pockets rather than just unearthing the remnants of the addressable base for standard streaming. It is difficult to translate much of this because of licensing constraints but doing so should be the priority for both TikTok and YouTube. Both TikTok and YouTube have unique content, behaviour, features, and culture that stand in stark contrast to standard streaming. TikTok Music: Resso is a perfectly decent streaming service, but similarly to YouTube Music, it only scratches the surface of what it could be. While this is certainly the case, ByteDance’s streaming opportunity is a whole lot bigger and more disruptive than Resso: It is a logical leap to assume that if TikTok becomes a key force in music discovery, it could do the same for consumption. TikTok has become one of the central forces in the digital music market ecosystem, eroding the cultural capital of traditional streaming services. It already has Resso in Indonesia, India, and Brazil, but has spiked interest recently with trademark registrations, new Twitter accounts, and reports that ‘more than a dozen’ new markets are being prepped. There has been talk for some time now of TikTok parent ByteDance launching a music streaming service in Western markets.
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