Building Your Streaming Audience with Kevin Breuner (CD Baby)

"So it's our job to get the best possible deal. So basically, there's no database, how long is a piece of string? Just make sure you're working with someone who knows the industry and who knows what music is worth?"

Today’s guest is Simon Pursehouse, Global Director of Music Services at Sentric Music, an “industry challenging” music publisher. Simon works within the Business Development and Creative Departments at Sentric and is the point person for their roster of signed songwriters.

Previously at Sentric, Simon headed up the sync division, which under his supervision was nominated as Best Indie Publisher at the Music Week Sync awards for six years running. Here he has developed relationships with global media organisations, broadcasters and advertising agencies which has resulted in Sentric’s catalogue being placed in adverts, films, games, TV shows worldwide.

Simon has been featured in Music Weeks’ ‘30 Under 30’ list and regularly speaks at various industry conferences worldwide such as Reeperbahn, The Great Escape, BBC Introducing Live and AIM’s Sync Day amongst many others. He has been invited to discuss Sentric on BBC 6Music on multiple occasions and has consulted on judging panels for awards/grants for BAFTA, PRS, BRITs, Music Week and more. He is a regular guest lecturer at LIPA and BIMM amongst other educational bodies.

Simon has been a core part of Sentric’s online identity; he is the author of Sentric’s Blog which offers advice to emerging artists and has received millions of hits

Sentric Music:

Sentric Music was formed in 2006 as the new age independent music publisher. Sentric disrupted traditional publishing by offering the fairest deal in the industry. We empower artists and songwriters to collect the royalties they’re owed.

Their friendly and knowledgeable team are dedicated to ensuring writers and artists get the most out of their music. They enjoy giving artists and songwriters opportunities to elevate their careers and fulfil their ambitions.

“To date we’ve put the power back in the hands of over 400,000 artists.”

Show Notes:

#HowWeListen Live: In Conversation

Sentric Music

Streaming Calculator

WTF is Music Publishing

00:10 - Byta.com

02:43 - The Beard

03:48 - Liverpool Institute of Performing Arts 

04:14 - History of Sentric’s start

08:04 - Sentric’s growth and development

11:00 - The basics of music publishing

12:42 - Your local Performing Rights Organization

14:00 - The Sentric method

16:00 - The pie chart / AKA how publishing works

19:00 - Simon’s trip to Australia

22:26 - Democratization of Publishing

24:30 - Collecting royalties and new synchs

26:51 - Performance VS Mechanical income

28:53 - Marc’s recap

30:33 - Byta.com

31:05 - Neighbouring rights explained

34:51 - What the fuck is music publishing

The Life Cycle of a music publishing copyright

37:00 - Sentric Vs TuneCore VS Song Trust

41:30 - Pitching Syncs

44:00 - Picking partners: Be careful (aka - wait and they will find you)

48:00 - Lawyers

52:38 - Sarah Hamilton (Ditto)

54:24 - Just be nice to everyone (if you are good, they will find you)

59:27 - Make sure your whole team know about all your wins, helps the pitch.

1:01:00 - More on sync

1:04:00 - The goal is to make your music, not just "sinkable music…"

1:08:00 - email tips, making contact

1:09:000 - Be nice

1:12:00 - Work with experienced people 

1:14:30 - Finding the “Best people”

1:15:00 - How much do you charge for Synchs

1:16:48 - Byta.com

Music by Fin Productions and Oliver Lyu

" I think socioeconomic status and background is one of the key areas where the music industry isn’t diverse enough."

Today's guest is Lara Baker, General Manager at FUGA for the UK & Ireland. On top of being named in Billboard's International Power Players 2022, she was also honoured with Music Week’s Women in Music Roll of Honour and SheSaidSo's Alternative Power List. She is passionate about improving diversity, gender balance and inclusivity in the music business. She has sat on UK Music’s Diversity Taskforce, supported the Love Music Hate Racism campaign and organised regular women in music and diversity-focused events. Lara joined FUGA in early 2023. She came from Songtrust/Downtown Music Publishing, where Lara worked for 4 years as Director of Business Development for the UK, IE and Australia. Lara's background and passion have always been supporting independent labels and artists. Her music career began in 2004 at AIM (the UK trade association for independent labels), where Lara spent 14 years serving the independent community, ultimately as Marketing and Events Director. During this time she created the AIM Awards, the leading celebration of independent music, as well as AIM's year-round programme events including AIM Connected, AIM Sync conference and Indie-Con (now known as Future Independents). There is a lot to talk about and Marc and Lara definitely get into it.

FUGA is the world's leading B2B music distributor. FUGA is the number one choice for some of the world’s top labels, management companies and distributors, including Epitaph Records, Ultra, Curb, Mom + Pop, mTheory and Domino. As GM UK/IE, Lara's role leads new business and client relations for the territory.

Show Notes:

#HowWeListen Live: In Conversation

FUGA

AIM

WIN

Merlin

Songtrust/Downtown Music

Women in Music Awards

shesaid.so

Keychange

Black Music Coalition,

Women in CTRL, 

00:10 - Byta.com

03:52 - Getting started, school & first job

04:50 - Music business school 

07:57 - Socioeconomics and background 

09:00 - AIM getting its start

12:16 - Why indies needed help

15:52 - The Big wins at AIM when I was there, Spotify/MTV…

18:00 - Merlin and WIN explained

21:15 - Diversity in music not reflected in the organization

25:00 - Women in Music Awards, genesis

26:38 - Mentoring

28:50 - The gender pay gap, really bugs me!

36:45 - The Socioeconomic barriers

41:00 - Byta.com

43:00 - Things have changed, what artists need to do and how FUGA helps

46:00 - The Hives.

52:00 - More initiatives

54:10 - Byta.com

Music by Fin Productions and Oliver Lyu

" If you’re passionate you should be able to find the hustle because it’s what you love to do. Most people in the music industry are passionate, so if you’re not then it’ll be hard to get to the hustle. My main piece of advice: Find what you’re passionate about and the hustle will follow."

Today's guest is Daniel Seligman who has been active in the Montreal and international music scene since 2000. He has managed Stars, The Unicorns, Socalled and Yves Jarvis through the company he co-owns called Danagement. In 2002 Seligman co-founded the multidisciplinary festival POP Montreal and remains the festival's creative director. An annual not-for-profit cultural event, POP Montreal champions independence in the arts by presenting emerging and celebrated talents. The 5-day festival showcases more than 400 performances to audiences of over 60,000. Founded in 2002, POP Montreal helped break countless emerging artists to the world while providing a dizzying and diverse array of headliners like RZA, Fever Ray, Bonobo, The Orb, Sheryl Crow, Suzanne Vega, Godflesh, David Byrne, St Vincent, Butthole Surfers, John Cale, Beck, Franz Ferdinand, Regina Spektor, Queens of the Stone Age etc. 

Danagement Artist Management oversees music management, business management, tour production and grant writing for a wide variety of artists including;  Basia Bulat, Braids, Jean-Michel Blais, Le Ren, Owen Pallett, Sarah Neufeld, Socalled, God Speed You Black Emperor, Wolf Parade, The Besnard Lakes and more. In 20 years POP Montreal has produced thousands of shows and events throughout Montreal and around the world. On a festival landscape that’s persistently male and Euro-centric, POP succeeds in offering attendees respite. This year the festival takes place in Montreal, from September 27th to October 1st, 2023. The 5-day festival showcases more than 400 performances to audiences of over 60,000.

Show Notes:

#HowWeListen Live: In Conversation

Pop Montreal

Danagment

00:10 - Byta.com

02:26 - Ursa Pop Montreal HQ & Great venue

05:00 - Montreal is unique, Montreal was super cheap

07:08 - I started off managing Stars

08:51 - Music Management is not rocket science, if you have a driver’s license, you have a usable skill

10:15 - The basics skills required to manage a band

11:00 - How did Pop Montreal get started/Peter Rowan

13:20 - The importance of alternative weeklies

14:37 - Posters were cool

16:20 - Montreal’s moment in the sun (when it comes to indie rock)

20:15 - Why did you start Pop Montreal?

25:30 - Pop Montreal was for the artists

28:20 - Byta.com

29:35 - You can not just go and play at a festival, you need to do more

32:10 - Booking agents are now key

36:00 - Opinions on Social media

38:20 - there are more gatekeepers

41:20 - Michelle Cable artist manager

43:10 - Daniel’s work as an artist manager

45:42 - Have to have the passion, and do your homework

50:56 - You have to roll up your sleeves and get your hands dirty - Chris Blackwell

52:44 - Find the passion & the hustle will follow.

54:25 - Byta.com

Music by Fin Productions and Oliver Lyu

"If you really, really love an artist, reach out and buy their record, buy their T-shirt, send them money, and appreciate how much blood sweat and tears go into that song that you listen to every day."

Our guest on today’s episode is Andee Connors,  Pandora’s Senior Manager of Catalog & Creator Services. Pandora is only accessible in the USA, but it has over 60 million subscribers. The streaming service has a great history of human-led curation. Andee’s background is steeped in the DIY music ethos. His band bought a van, toured pre-cell phone and circled the USA, with stops in Europe, many times even before a record deal was on the table. He is an anomaly, both old school and very much a part of the modern music ecosystem. He brings to this conversation a great many insights, perhaps the most important being, to make sure you know what success means to you and then go after it. 

Andee discusses how a Black Metal drummer with DIY coursing through his veins ended up working with Pandora at a job that no one wanted. He also explains what makes Pandora different from other streaming services, one thing is AMP, which stands for Artist Marketing Platform. This discussion also goes in the direction of modern-day music discovery. Is it better today? How have things changed, and how can people take advantage of those changes? When should you send your music to Pandora to get playlisted? Pandora has 60 million subscribers!! What about Radio VS streaming services, what role do they each play today? Why is Bandcamp awesome, because streaming your favourite artists is really not enough to support  an them if you really love the music and they make you happy, you need to buy merch too, so says Andee. 

Show Notes:

#HowWeListen Live: In Conversation

Pandora

SiriusXM

00:10 - Byta.com

05:09 - Running Aquarius Records

07:15 - I also had a label:  tUMULt Records

08:13 - What is Pandora AMP

09:52 - Listing to thousands of demos

11:35 - The early days at Pandora

13:10 - The effect of things going digital

15:50 - Touring & recording back in the day

17:20 - How Pandora got its start

22:00 - Pandora is only in the USA but you can still use it to find fans

23:00 - Mike Warner - Book: Work Hard Playlist Harder

25:00 - Send your art to those that inspired you

29:00 - Community was your only connection before the internet

32:00 - What are your expectations, your barometer of success?

38:00 - Being a musician in 2023 is a lot of work

40:00 - Houston Pandora has a problem with submissions

45:00 - Timelines to get your music to Pandora

48:00 - Metadata

50:00 - AMP (stands for Artist Marketing Platform)

52:30 - Radio VS streaming

57:40 - How to better support the artists you love

59:30 - Are there too many platforms?

102:00 - Byta.com

Music by Fin Productions and Oliver Lyu

"Sometimes I feel like smaller labels are often better because they can help you without you having to do things you don’t want to do. When you sign to a big label, you need to play the game if you want to get the max benefit."

Our guest on this episode is May Mahmoudi, A&R at Ninja Tune’s Big Dada Records, as well as working in the sync department of Ninja Tune’s Just Isn’t Music. This episode is an insightful introduction to publishing and record label deals. How to get your music synched and what are the expectations from artists at the various levels of the music ecosystem? May was brought on to do A&R when Big Dada decided to do a big relaunch in early 2021. The label put a new focus on where they wanted to go and who was going to take them there. They are now actively working to amplify Black, POC and racialised voices. Big Dada Records looks to shift the narrative around this music, bypassing stereotypes to allow and encourage the freedom to express oneself for who they are and want to be. The goal: supporting and offering resources to a new generation of artists. May approaches music first by relating the vibe and the artist’s community. Then it is the nitty-gritty of how the music might be properly promoted and what the artist’s vision is, who they are and what they want. Having someone who works both the publishing side as well as the label side of the music ecosystem in for a conversation brought up a lot of new strategies. May is also very interested in having artists develop their music and career, being ready for their next step, whatever level that might be. 

Show Notes:

#HowWeListen Live: In Conversation

Ninja Tune

Big Dada Records

May Mahmoudi reviewed by Pitchfork

00:10 - Byta.com

03:36 - Virginia Tech, Beach Fossils, Wild Nothings

05:00 - Me and my friends all moved to LA, I got a job at Universal Music

06:23 - How  got my job at Ninja Tune

08:36 - The difference between the publishing world and the record label world

10:00 - What don’t artists know about publishing

10:35 - Just DM Beck…

11:24 - What does May’s day-to-day look like

12:51 - What are publishers looking for in an artist

14:42 - Chicken and Egg, how do artists get synchs?

15:28 - What does synch-able mean exactly?

17:03 - Bid Dada is looking for people pushing boundaries

18:11 - How do most indie labels approach new signings these days?

19:18 - The luxury of being Big Dada Records, under Ninja Tune.

20:42 - What are publishers looking for in an artist

21:10 - Why would anyone sign a record deal?

23:25 - Bandcamp is your best option

25:22 - May’s back story and her music career

27:50 - Byta.com

29:00 - You need to be ready for the level of label you sign to

31:16 - Music pollution

34:45 - Technology has changed everything & made music more accessible

38:09 - The importance of giving back to your community

40:00 - HowWeListen Live: In Conversation

41:18 - How does May find new music and artists

43:41 - How does A&R work inside the label

46:12 - What makes a great songwriter

47:30 - Byta.com

Music by Fin Productions and Oliver Lyu

"I'm reaching out to people because of their work ethic and because of their consistency. I believe in their journey and I feel like it's only a matter of time before something huge happens"

Our guest on today’s episode is Obinna Agwu. Newly appointed A&R Executive at Horus Music Nigeria, Obinna Agwu is also an artiste manager and music business consultant and podcaster with years of experience working in the Nigerian music industry. He is experienced in working closely with a variety of industry partners and managing internal/external relationships. As mentioned he also hosts a music industry-based podcast known as The Listening Sessions Podcast.

Prior to joining Horus Music, Obinna worked at Boomplay as their Artiste Relations Manager, executing over twenty major releases and securing top talents like ILLBliss, Laycon, Hotyce and Ugochee for Boomplay’s Hip-Hop initiative,  “Pass The Mic”. Obinna also oversaw planning and rollout for El Dee The Don’s ‘Undeniable’ whilst working at Trybe Records, and while at the Chocolate City record label (generally regarded as one of the most successful indigenous urban record labels in Africa) he oversaw the Plantation Boiz’s Plan B album, And The Bass is Queen by Lindsey Abudei, M.I Abaga’s debut album ‘Talk About It’, and many other projects.

Marc and Obinna talk about how artists can be better prepared to help move their music and careers forward. They also talk about the history of the music industry in  Nigeria, the Afrobeats explosion and why there is more to Nigeria than Afrobeats.  

Obinna spoke to us from Lagos, Nigeria.

Show Notes:

#HowWeListen Live: In Conversation

Horace Music

Horace Music Nigeria

Trybe Records, and the Chocolate City record label

Boomplay

West & East Africa

Afrobeat

The Listening Sessions Podcast

00:10 - Byta.com

02:35 - From Boomplay to Horace Music Nigeria

04:22 - Radio promotion back in the good old days & A&R

09:11 - Artists out front, maybe too soon

11:46 - People expect excellence

15:10 - South African music industry

17:00 - Nigerian music industry relationship with South Africa

22:53 - From radio to steaming and Boomplay

27:00 - How do new artists approach the music industry in Nigeria

29:30 - Are Nigerian artists looking to sign to major labels

35:35 - How does Horace Music support creators

37:25 - How do artists get to 20 000 streams

42:45 - How do artists decide how to develop their careers

45:43 - A&R is a new concept in Nigeria. Payola

50:40 - the vibrant music scene in Nigeria

54:00 - The Listening Sessions Podcast

55:00 - Byta.com

Music by Fin Productions and Oliver Lyu

"When I first hear a song, it doesn't matter if it was released today, one year ago or 10 years ago. It's new to me, the moment I first hear it, and that's the same for your fans."

Our guest on today’s episode is Mike Warner, founder of Work Hard Playlist Hard – The DIY playlist guide for Artists and Curators. Mike is also the Head of Editorial Marketing Partnerships for North America at Believe, the global music distributor. As the go-to authority at the forefront of the digital music world, for all things streaming, we get into it with Mike. Find out how he got started as a DJ in Australia and then eventually made his way to California. How unemployment can lead to some great ideas, opportunities and even a book. Let's find out about the path that led to Mike eventually ending up at Believe USA for his day job, yes he loves a day job.  Throughout this episode, Marc brings a bucket of questions to the table. Mike gets more specific about some excellent strategies, timelines and how to approach building a team. He also explains a few unique ways artists can get noticed by the many Digital Service Providers (DSP) out there. 

The biggest lessons offered up: 

• Don’t give up and don’t ignore any of the streaming services. 
• Artists should always be talking about their work no matter when the music was released. 
• A song is “new” the moment people hear it, even if it is 1 or 10 years old. 

Mike spoke to us from California, USA.

Show Notes:

#HowWeListen Live: In Conversation

Believe

Work Hard Playlist Hard – The DIY playlist guide for Artists and Curators

Chartmetric

00:10 - Byta.com

02:20 - I grew up in Australia

03:39 - All I wanted to be was a DJ

06:10 - I moved to the USA and could not work so researched streaming services

08:40 -Pay a fee & get on a streaming platform: DistroKidt, CD Baby, TuneCore

09:00 - Other platforms provide services on top of that- The Orchard Ingrooves and Believe

11:55 - The band Date Night

13:00 - Writing the book: Work Hard Playlist Hard

20:18 - Fill in the forms and pitch your music to the DSPs

27:52 - What is an editorial playlist

29:07 - Spotify only allow you to pitch one track at a time

30:18 - Amazon Music: Pitch your music everywhere

32:00 - Pandora, only in the US, but a lot of listeners and great artist support

36:15 - Tidal for artists, “Rising Artists”

40:23 - Make a plan, talk up your music

43:31 - 8 Weeks before release, stick to a schedule

47:05 - Don't be disheartened, people take longer to discover new music today

49:30 - Its new the first time you hear it

51:56 - Finding your team- ask lots of questions.

56:00 - How I got on the Starbucks playlist

59:00 - Reach out on LinkedIn

59:30 - Creating your own playlists and exchanging music with other curators

1:03:20 - Working with labels and distributors

1:04:00 - The New Spotify user interface, Spotify canvas

1:10:00 - What are publishers looking for?

1:12:00 - Byta.com

Music by Fin Productions and Oliver Lyu

“I didn't know anything about the music industry. I didn't know that there were publicists trying to push stuff. I was clueless. So getting emails at the start was really cool, especially when it was from artists that I recognized.”

Our guest on today’s episode is Jason Grishkoff the founder of SubmitHub.  With just a hop, skip and a jump, Jason moved from the world of high finance to working at tech giant Google. Then a side hustle and hobby – the Indie Shuffle Blog (it’s music discovery powered by real people.), led to founding SubmitHub. The goal was to efficiently and transparently connect artists with curators, the “right” people, in order to get music heard more efficiently.

One of the key stages of getting your music heard and promoted outside of your own network is accessing the world’s music curators, but who are they? How can artists and creators access these curators and influencers themselves? This is what SubmitHub is an expert in. The platform was built with musicians and curators in mind. You upload your music, then use pay-for credits to submit it to trusted and user-scored curators (there is a free song-submission feature as well). They listen and then respond directly from within the SubmitHub platform.

Byta’s Marc Brown has always tried to impart as much wisdom as possible to anyone wanting to operate within the music ecosystem. DIY is your best first step, finding out how everything works, by trying and often failing for the first time. There are no shortcuts. This was a great conversation between two people trying to do similar things in different ways.

Jason spoke to us from Cape Town,  South Africa

Show Notes:

#HowWeListen Live: In Conversation

SubmitHub

Indie Shuffle

00:10 - Byta.com

03:15 - NAPSTER

03:57 - 2007 music

07:54 - Indie Shuffle

09:00 - MP3 Blogs

09:40 - Web Sheriff

13:18 - The advantage of a publicist

17:36 - SubmitHub explained

21:23 - Solving the problem of email inconsistency

25:33 - Hype Machine

27:38 - Knowing who you are and what you want as an artist

33:30 - How to approach advertising your music

39:00 - Who should I send my music to?

43:03 - How to take advantage of playlists

48:32 - The difference between followers and listeners

55:46 - Playlist pitfalls

58:35 - Pay for playlisting/fake playlists

1:01:00 - What else is an artist to do?

1:03:00 - TikTok

1:06:00 - Take Spotify out for drinks, if you can find them

1:08:00 - Get as much traction in your first 28 days as possible

1:12:00 - Byta.com

Music by Fin Productions and Oliver Lyu

"A fan a day" is basically anything that you’re doing to grow. Everything that you do should be cognisant of building an audience...

This episode features a panel discussion moderated by Marc Brown, Founder & CEO, Byta / byta.com 

Our guests are:  Mira Silvers (Head of Music, FORT Agency), Nikisha Bailey (GM, Nvak Collective Executive Board, The Recording Academy Global Co-Chair, Diversity & Inclusion, Women In Music) & Phil Loutsis (VP Community, AWAL)

Live music, festivals, and conferences. All of a sudden people were back in the same rooms listening to and talking about music again. 2022 was the year music finally came back from COVID.  Some of the same old challenges that have always been there did not go away. This episode comes up with a few ideas to move a music career forward.

 Here is a little more information on our panelists:

Mira Silvers

Originally from Atlanta, Mira Silvers is a young music executive & polymath, who serves as the General Manager/Co-Founder of VICEVERSA, an emerging social-based record label and artist incubation platform. Additionally, she is an artist manager and the Head of Music at FORT, an independent female-led and Brown-owned agency focusing on a highly curated roster of artists for live development.

Phil Loutsis

Phil focuses his energies on helping indie artists build their careers. Part of his role at AWAL includes curating content to help creators and managers make the best use of their resources. A big part of building and sustaining those music careers – harnessing community with artists, creators and their teams. He enables artists and their teams to better tell their stories.

Nikisha Bailey

Forbes “Next 1000 list 2021” honoree, Nikisha Bailey is a community-driven entrepreneur, entertainment executive, and philanthropist with a lifelong commitment to music. Professionally, she is the General Manager for the Nvak Collective – a next-generation record label & artist advocacy collective that embraces web3 to drive change for creators and intellectual property. She also serves as Vice President for The Recording Academy’s New York Chapter and is an Ambassador for the Academy’s Black Music Collective (BMC). 

Even if you stumble on this podcast deep into 2023, or further down the road, the ideas, strategies and inspired conversation that take place in this episode are well worth a listen, are still relevant. Sustaining a career in music has never been easy but the landscape seems to be changing at an increased pace... or is it. Some things remain the same- like hard work and treating your music and yourself like a business, other things- streaming, TikTok offer up new opportunities and challenges.

#HowWeListen Live: In Conversation

00:10 - Byta.com

02:49 - FORT Agency, MMF Canada, VICEVERSA Records

03:51 - AWAL

04:32 - Nvak Collective, The Recording Academy, Women In Music

14:13 - Chartmetric

19:57 - Girl In Red

25:53 - 1000 Super Fans

30:49 - Byta

33:00 - Muni Long

33:31 - Jazmine Sullivan, Denzel Curry

40:15 - Artist as CEO

51:57 -  SubmitHub

55:21 - Byta.com

Music by Fin Productions and Oliver Lyu

Bonus Material: 

#MethodToMyMusic weekly interviews

Digital Dialogue Guest Blogs

"DO IT TOGETHER- You learn by doing, you navigate the systems and the complicated processes, by jumping right into it with curiosity and humility, learn as you go, and then share what you're learning."

Our guest on today’s episode is Kevin Erickson, Director of The Future of Music Coalition (FMC).  Kevin has contributed opinion pieces to outlets as disparate as The Nation and Pitchfork, volunteers with Positive Force DC, and remains active as a musician and record producer, operating Swim-Two-Birds recording studio in DC, alongside husband Hugh McElroy. Before joining FMC’s team in 2012, he directed the All Ages Movement Project, a national non-profit network of all-ages music venues and youth music programs. The Future of Music Coalition is a Washington D.C.-based nonprofit organization supporting a musical ecosystem where artists flourish and are compensated fairly and transparently for their work.

The FMC’s work is rooted in the real-world experiences and ambitions of working musicians, whose perspectives are often overlooked in policy debates. The FMC works with musicians, composers and industry stakeholders to identify solutions to shared challenges. They promote strategies, policies, technologies and educational initiatives that always put artists first while recognizing the role music fans play in shaping the future.

This episode does not just talk policy and lobbying, but real work tips and tricks on helping musicians connect, develop community and more than anything else pay attention to what the world at large and larger corporations are imposing on creative musicians.

Kevin spoke to us from Washington, DC

Show Notes

#HowWeListen Live: In Conversation

Future Of Music Coalition, Staff

All Ages Movement Project

Positive Force DC

00:10 - Byta.com

12:00 - Universal Music Group

13:21 - Clear Channel, iHeart Radio

17:00 - Ticketmaster, Live Nation

24:00 - Puppets, more here

26:00 - Music Modernization Act

30:00 -  Byta.com

35:00 - Healthcare for Musicians USA

36:00 - Affordable Care Act

38:00 - Terrestrial Radio Royalties

40:00 - House Judiciary Committee

43:30 - Huw Stephens

50:00 - DIY, DITO

55:00 - Future of Music Coalition YouTube

56:00 - Byta.com

Music by Fin Productions and Oliver Lyu