Playlist: a new music eldorado

European Music Incub­at­or is con­sid­er­ing diver­si­fic­a­tion of activ­it­ies as a key-factor to diver­si­fy sources of income and to reach a wider audi­ence. Each part­ner choose one cre­at­ive sec­tor and worked on its prob­lem­at­ics with loc­al stakeholders. 
Sound City Fest­iv­al (Liverpool/UK) choose the them­at­ic “the playl­ist busi­ness”. The fol­low­ing is a quick state of play of this cre­at­ive sector.

If you want to know how young­sters up to 25 years old listen to music, be sure to check inside their smart­phones: you will not find much on-board music but many applic­a­tions such as Spo­ti­fy, Sound­cloud or You­Tube. All these apps – espe­cially Spo­ti­fy – are oper­ated based on playl­ists, and Spo­ti­fy even claims to fea­ture more than 2 bil­lion of them on its website.

A playl­ist is music laid out in an upright string, one track after anoth­er up to infin­ity. It has no oth­er logic than the one you apply to it: it can tell a story hint by subtle hint or serve as an all-day music­al wall-paper for Inter­net users. Tracks rule in a playl­ist. There­fore a Mali­an blues track can freely give way to a Ger­man Krautrock track.

Today, playl­ists have become a new way of con­sum­ing music, thus blow­ing apart the music industry’s former codes, among which the album. New pro­fes­sions are pop­ping up such as Playl­ist Cur­at­or or Con­tent Man­ager. These playl­ist pro­fes­sion­als set the mood of each and every moment of our days and each and every one of our activ­it­ies. Oth­ers are build­ing a true playl­ist-centered eco­nomy by set­ting up their own playl­ist chan­nel on YouTube…

How does this eco­nomy really work? How could playl­ists be bene­fi­cial to us? Is there such a thing as playl­ist-tailored cre­ation? As the world of playl­ists is on the verge of chan­ging the music industry in the long run, many ques­tions arise about how musi­cians could take to it and make the most of it.

Pic: Lizzi (flickr CC)

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.