My Prediction on the Future of the Music Industry

With the music industry slowly running out of ways to monetize itself with the advent of file sharing and streaming services, it is evident that the music industry is in a rut. Seeing that only two albums went platinum and sold a million copies  this year being Drake’s “If you’re reading this it’s too late” and Taylor Swift’s 2014 release 1989″ (last year it was 3 albums) it’s clear that either music industry has to innovate or crash. Seeing how there’s loads of money involved in this whole music thing I lean towards the innovation idea. My theory is that within a decade or so the music industry will revive itself via holographic concerts. “How?” You ask. Well, say Jay-Z was performing in real time at in Madison Square. If you were to simulcast a hologram of that live concert to different venues, but with heavily reduced tickets prices you’d be able to have a concert with the biggest turn out ever! Not only would it cost venues less, because all they would have to do is set up the tech and let it play. It would increase revenue for the artist/label because instead of having a sold out stadium of just tens of thousands, you could essentially create a concert with an audience of MILLIONS, for ONE night of performance. Although, currently the technology isn’t up to par for it quite yet but, it’s already being implemented they’ve already had holographic concerts for Micheal Jackson & Tupac. Even living artists such as Chief Keef have used hologram tech already. So, in 10 or 20 years when the next music crazy is holographic simulcast, Let everyone know that I called it!

8 thoughts on “My Prediction on the Future of the Music Industry

    1. Only if the music industry crashes which is a theory ill save for later but labels tend to want growth so they are going to try to one up each other with more glitz until it reaches a point of diminishing returns and the market crashes making room for local performers to fill the vacuum

  1. Don’t forget the Vocaloid concerts, 100% virtual singers on holographic screens, or, in the case of the IA concert, via 3D overlay through technology like the 3DS. Point the camera at the screen and then the performer is shown on your device as if she was there.
    There’s a lot of room for concert innovation, sure, though I personally hold stock in a modern Renaissance as the ease of virtual distribution allows smaller artists to reach thousands, even millions, without having to cater to the whims of the labels themselves. Yes, the recording industry labels are great for getting heard, but the fact is that there is an inherent crossing of purposes between the artist, who generally wants to make music, and the label, who wants to make money. There is some crossover, but as an artist, I wonder what you would say if someone told you that you could make $10,000 for a single song if you merely used X set of formula which are literally engineered to make people enjoy the song, instead of pouring your soul into the work to make what feels right.

    1. I almost forgot about vocaloid! I think vocaloid has great potential but it still needs to cross the uncanny valley first. I’m not a fan of the current system where labels rule because as you mentioned they are closed minded and not into taking risks (which is understandable given the money making motive).

      1. I think Vocaloid’s format is one of the big methods of moving forward in a lot of ways, but yeah, for other projects, we need to either A) surpass the uncanny valley, or B) make it into the gimmick, like Miku and company, the Gorillaz, and a lot of music videos, turning the concert into a giant live performance series of music videos instead, which is actually also pretty cool anyway. Beyond that though, I think Vocaloid shows potential as a way to reach across the gap with a label, as the songs chosen for the Vocaloid games and concerts are popular original creations by generally unlabeled artists using the Vocaloid software package, which are then taken by Sony after they become popular on Youtube, Nikoniko Dounga, and etc and then turned into public exhibitions. I don’t know how the original writer is compensated, but I imagine it isn’t a horrible deal or some of the better artists like Supercell would simply refuse to continue using Miku regardless of her popularity.
        That same premise is likely how we’re going to see new artists getting picked up, and possibly how we will see entirely new genres and styles of music come into play.

  2. Pingback: If the Music Industry Crashed… | Audio SeXXX

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