Pamela Hute on being a musician now and in the future

Vir­tu­al real­ity, arti­fi­cial intel­li­gence, block­chain, holo­gram — these con­cepts are get­ting their place in today’s music industry and may become tomorrow’s new set of stand­ards… but what does that mean to an artist? Which skills will be neces­sary to nav­ig­ate as an artist in 2030? Pamela Hute will be with us at Slash on the 22nd of Nov. in the pan­el about «Being a musi­cian in 2030», here she gives as a little preview…

Can you tell us a bit about your music and yourself?
I’ve been com­pos­ing and writ­ing since I’m 12, I had vari­ous rock bands at school but star­ted with it as a pro­fes­sion in 2005. I released my first album in 2010 under the french label «tôt ou tard» and nev­er stopped releas­ing more albums and EPs since then. I’m cur­rently pro­du­cing some indie pop / rock music, and hope­fully will con­tin­ue in the future with that ! I’ve also star­ted pro­du­cing oth­er artists because I enjoy work­ing in the stu­dio a lot and I’ve also just fin­ished an EP for the french artist LOUPS which shall be released in March under the record label which I foun­ded two years ago called My Dear Record­ings. Next to my role as a musi­cian and a pro­du­cer I am also work­ing at la GAM — la Guilde des Artistes de la Musique — a group cre­ated by artists, defend­ing the artists interests and rights in France. On a more nerdy side, I’m involved in the block­chain pro­ject, Musi­coin, a stream­ing plat­form based on block­chain tech­no­logy, empower­ing artists.

Which dif­fi­culties are you facing day by day as an artist?
It’s obvi­ously hard to make a liv­ing as an artist. It requires a lot of time and energy, and unless you are very fam­ous, you usu­ally need to find oth­er ways to make money and make a liv­ing. But on the oth­er hand, if you embrace your job, you nev­er get jaded, or bored. It’s not just about writ­ing songs or per­form­ing any­more, it’s also about build­ing a net­work, build­ing an image. You need to have com­mu­nic­a­tion skills, learn quickly, be your own man­ager, your own sound engin­eer, your own pro­du­cer… I love that. But some artists don’t. The dif­fi­culty is that most artists don’t really have the choice if they want to succeed.

Think­ing about 2030, what are the next big chal­lenges for artists in the future?
It’s hard to tell, but I would bet on two major tech­no­lo­gies : AI and Block­chain. Stream­ing already changed the industry a lot, and this new way of con­sum­ing and pro­mot­ing music had a major influ­ence on the way pro­du­cers and artists write songs (short­er, sim­pler, more intim­ate…). Tech­no­logy influ­ences art, and it’s our respons­ib­il­ity as artists to anti­cip­ate, think about it, and find our role in this chan­ging ecosystem.

More Info : Pam E. Hute, Music maker since 1982
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Slash Program

Slash is a Europe-wide train­ing pro­gram build-up by Trem­po with the great sup­port of SACEM. It aims to train emer­ging pro­fes­sion­al musi­cians in their career devel­op­ment. It is co-fin­anced by the European Uni­on through its Cre­at­ive Europe pro­gram (Music Moves Europe).

The European Commission’s sup­port for the pro­duc­tion of this pub­lic­a­tion does not con­sti­tute an endorse­ment of the con­tents, which reflect the views only of the authors, and the Com­mis­sion can­not be held respons­ible for any use which may be made of the inform­a­tion con­tained therein.