More industry leaders and tech innovators added to Great Escape line-up
A bunch more speakers have been confirmed today for the three CMU Insights conferences taking place as part of The Great Escape in May. Ticketmaster, The Orchard, Coda, 7digital, Believe, Live Nation and the Musicians' Union are among those companies and organisations now confirmed to be taking part, alongside a plethora of exciting music tech start-ups.

CMU Insights will present three full-day conferences during The Great Escape this year: The Education Conference on Wednesday 16 May, The AI Conference on Thursday 17 May and The China Conference on Friday 18 May.

The Education Conference will feature the initial results of the major new research project CMU Insights launched earlier this week, 'Redefining Music Education'. That will look at how business and entrepreneurial skills could and should be integrated into the music and wider arts curriculum. Phase one of the research will inform the conversation at The Education Conference, while debate during the day will instigate phase two.

FAC's Lucie Caswell, Urban Development's Pamela McCormick and BIMM's Phil Nelson were already confirmed for The Education Conference. Nelson's BIMM colleagues Mark Irwin and Mel Thornton are now also on board, while Diane Widdison from the Musicians' Union, Paul Latham from Live Nation and Mark Davyd from the Music Venue Trust and music education charity Rhythmix are all also set to join the conversation on the day.

The AI Conference will put the spotlight on the companies utilising big data and artificial intelligence to change the way music is monitored, marketed and made. Among the companies showcasing their technology will be WARM, POP, Jukedeck, Rotor and Ents24.

Debates during the day will also look at the role of audio-recognition technology, with Rebecca Lammers of Laika Network and Gideon Mountford from Believe discussing the automated rights management systems offered by YouTube and Facebook. Plus we'll review AI technologies that actually compose music, before asking the all-important question: will machines be the pop makers of the future? Leading that particular debate will be songwriter Helienne Lindvall and The Orchard founder Scott Cohen.

We will also be discussing what hyped technologies of now will really impact on the music business of the future. Imogen Heap and Deviate Digital's Sammy Andrews were already on board for that conversation, and they will now be joined by Andrew Parsons, MD of Ticketmaster UK, and Dan Fowler from data and blockchain start-up JAAK.

So, lots of exciting speakers and companies coming on board for this year's big three CMU Insights conferences. So much so, you probably think that we're "THRILLED" about it all. But, in fact, we're "elated, excited, gladdened, gratified, jubilant, joyous, frenzied, fervent, euphoric and overjoyed". And it's with our trusty thesaurus in hand that we'll take to the TGE stage in May to fully dissect, assess and debate future technologies, future markets and the future of music education. See you there!

To access all this - and all the other TGE:CONVENTION conversations, sessions and parties - you need a TGE delegate or convention-only pass. Standalone tickets are also available for The Education Conference.

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Kobalt expands AWAL brand
Kobalt yesterday announced that all of its recording activities would now sit under the AWAL brand. At the same time it committed to invest £150 million into working with recording artists, while hiring 100 new employees for the AWAL business and launching a range of new tech products to support the distribution and marketing of recordings.

The original Kobalt business was mainly focused on managing and administrating song rights, though it subsequently moved into the recordings side of music, acquiring DIY music distribution platform AWAL, launching the Kobalt label services division, and setting up a unit that manages the so called 'neighbouring rights' of recording artists.

Both the original AWAL distribution service and what had become known as Kobalt Music Recordings will operate under the single AWAL brand. As before, it will work with recording artists on a number of different levels, meaning that it offers acts a number of the different deal types identified in The Deals Guide produced by CMU Insights for the Music Managers Forum last year.

At all those levels AWAL still operates as a service provider rather than a conventional label which takes ownership in the recording rights of the artists. AWAL originally stood for 'Artist Without A Label' after all, so it can't really become a label itself in the true sense of the word.

Announcing the rebrand of the recordings side of the business and the new push to grow it, Kobalt chief Willard Ahdritz said yesterday: "We're levelling the playing field. For too long, artists have had to go through the gatekeepers to make a living out of music. Today, artists can build a career without the hangover of a traditional label deal".

He went on: "Hundreds of artists on AWAL are making over $50,000 a year and many earn in the millions without signing away their rights. We are also helping dozens of other independent labels do the same for their artists".

Meanwhile Lonny Olinick, who became CEO of the recordings side of Kobalt in January, added: "There are thousands of artists with real potential today who are lacking a true global partner with the capacity for funding, A&R, music data insights, promotion, distribution, and marketing support".

He added: "To be able to help all of these artists, you need to understand what level of support and capital artists need at what stage in their career - so they can continue to rise. Through our tech platform and global team with deep industry experience across the globe, AWAL is in a unique position to support both the rising stars and global superstars".

CMU's Chris Cooke will be in conversation with Kobalt boss Ahdritz at The Great Escape this year, and among other things will discuss his ambitions for the recordings side of the Kobalt business. More info on the TGE:CONVENTION is available here.

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Music Venue Trust launches scheme to support new female gig promoters
The Music Venue Trust has teamed up with a thing called Music Planet Live to launch a new initiative that will encourage and help 100 young female promoters to each stage a gig in a grassroots music venue of their choosing. The scheme is part of MVT's Fightback programme of fundraising events.

The 'Fightback: Grassroots Promoter' programme will make £100,000 available in 'subsidy guarantees', basically under-writing shows that participating promoters stage. They'll still need to aim to break even on the gig, but the initiative will take the risk out of promoting a grass roots music event. Promoters taking part in the scheme will also have access to knowledge and advice.

MVT and MPL note that "under 25s who want to promote a show are often put off by the risk or the lack of information about who to speak to, how to get the best deal, or what connections they need. At the same time, grassroots music venues are crying out for new young promoters with fresh ideas. Add into that mix a lack of diversity in the music industry and it adds up to a series of barriers to young women taking up promoting and adding their unique voice and ideas to the grassroots scene".

MVT's Beverley Whitrick adds: "We want to make a big change to the independent promoter scene in the UK, enabling 100 young women to take a chance on promoting a show they believe in. With their support, we are not only going to raise money for Music Venue Trust, we are going to start the process of identifying the next wave of fantastic new independent promoters and tackle head-on diversity in this sector".

There is more information about how to take part in the project on MVT's Facebook page here.

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NOS Alive announces support for UN programme
Portugal's NOS Alive festival has partnered with the United Nations to promote sustainability and raise awareness of the 'sustainable development goals' of the UN Agenda 2030. No, I don't know what that means either, but it sounds like an admirable pursuit.

That agenda sets out seventeen goals to be achieved by 2030 covering things like eradicating poverty, achieving gender equality, climate action, and building sustainable communities and cities. Organisers of NOS Alive say that they are seeking to support this agenda by making their own festival more environmentally sustainable, while also seeking to promote the UN's goals to its audience of festival-goers.

The event's Álvaro Covões says: "NOS Alive has been giving more and more attention to the issue of sustainability over the last few years. As one of the biggest events organised in our country we want to be an example in promoting responsible attitudes at the environmental, energy, social and economic level".

He goes on: "That is why we embrace the United Nations Agenda 2030 not only to continue to promote the sustainability of the planet but also to help, through music and culture, to awaken the consciences of our public. Together we will be able to contribute more and better to this UN mission. It is an honour for NOS Alive to join this cause and be seen as a privileged partner to spread the word".

Specifics of the festival's UN partnership are as yet unclear, but are set to be announced in due course ahead of this year's edition of the event in July.

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Google allows musicians to post messages in search results
Google has expanded its 'Posts on Google' feature to include musicians. This means that verified artists can post tweet-like messages alongside their search results. So, for example, Sia could point out that - despite what the top result when you search her name may say - she is not the UK's Security Industry Authority. She's actually using the feature to promote a new remix she's got out, but whatever.

Originally made available for big companies and celebrities in 2016, the feature adds another bit of information to the sometimes useful clutter that appears down the right hand side of search results on Google. The 'knowledge panel', they call it. Local businesses were cut in on the action last year, now music types. And very soon, your gran.

"Posting on Google is a new way to share relevant, fresh content with the people who are searching for you", says Google. "Use images, videos and even animated GIFs to engage your audience, and add inline links to drive traffic to specific content. This enhanced format allows searchers to hear directly from the primary source - you - and complements existing results from across the web".

You can check if you or an artist you work with is eligible for this special treat by - you'll never guess - googling them. If there's a little link underneath the knowledge panel asking if you manage this online presence, then holy shitballs you're in. Use your new power wisely.

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Snow Patrol announce wild new album
Snow Patrol have announced that they will release their first album for seven years, 'Wildness', in May. This follows an extended break after scrapping what would have been their seventh album in 2012.

Since then, of course, the various members have focussed on various other projects, which included building up with Polar Patrol publishing company, frontman Gary Lightbody appearing in 'Game Of Thrones', and guitarist Johnny McDaid co-writing a whole load of Ed Sheeran songs.

Lightbody says of the album: "There are many types of wildness, but I think it can be distilled into two: the wildness of the modern age, all its confusion, illogic and alienation and a more ancient wildness. Something primal, alive and beautiful that speaks to our true connectivity, our passion, our love, our communion with nature and each other. This is the kind of wildness the album is cantered around. The loss of it. Trying to reconnect with it. To remember it".

He continues: "I think it's the first record I've ever written that I haven't just asked a bunch of questions. I actually tried to figure out why I was unhappy, why I feel out of place, why I'm afraid. There's nothing really to protect myself for - it's all in the album. I want to remember. I think the album is defined by memory in a lot of ways, including my father's loss of memory".

"Seamus Heaney, my favourite poet of all time, said at 71 that he was only discovering what some of his poetry means, and this is coming from a Nobel Prize-winning poet", he concludes. "It's a great testament to inspiration. Sometimes it takes you five years to write the thing. Like now. And you know for sure when you finish an album like that, where you've poured over every detail and put every atom of yourself into it, everything makes sense and I bet you I'm never not proud of this record".

I'd imagine you're keen to hear a new song now. Will an album trailer do? Well, here's one anyway.

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Sofi Tukker announce debut album, Treehouse
Sofi Tukker have announced their debut album 'Treehouse'. Alongside the announcement, the duo have released new single, 'Baby, I'm A Queen'.

"Just because you are vulnerable, doesn't mean you have to let yourself be belittled or infantilised", they say of the new song. "Why is 'baby' the default nickname? We are strong and empowered because we cry, because we desire, and because of what is chaotic about us. This song is about standing up as strong and powerful, because of that courage to share ourselves. It's about being both a baby and a queen at the same time".

'Treehouse' is out on 13 Apr. Listen to 'Baby, I'm A Queen' here.

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Nick Cave announces US speaking tour
Nick Cave has announced a speaking tour of the US. He will hold four audience Q&A events beginning at the end of April.

"To be honest I am not sure what is going to happen at these events", he says. "I have always loved the Q&A format - not the formal onstage interviews that precede them but the questions from the audience afterwards. The audience tends to ask more challenging, revealing, playful and ultimately serious questions. You never know what you are going to get. They can be fearless and they can go deep".

He continues: "There has been a connection happening with the audience through the recent live shows where we have all shown a kind of willingness to open up and I thought that a direct conversation with the audience might be valuable. The more frank and intimate the questions, the more interesting the evening will be. The audience can ask me anything and I'll do my best to answer. I do have some things to say. I can always play some songs at the piano if it all goes horribly wrong. But, I don't know, I've got a good feeling about this one".

Presumably if it doesn't all go horribly wrong, there will be more events like this in other places. For now, here are the announced shows:

30 Apr: Northampton MA, Academy Of Music Theatre
1 May: Boston, Boch Center Shubert Theatre
3 May: New York, Peter Norton Symphony Space
5 May: Brooklyn, The Murmrr Theatre

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NME, Vince Staples, Camila Cabello, more

Other notable announcements and developments today...

• Here's a quick reminder that the last ever edition of the NME is out today. It has Stefflon Don on the cover.

• Vince Staples has released new track, 'Get The Fuck Off My Dick'. Does the crowdfunding campaign promote the track, or the track promote the crowdfunding campaign? You decide. Or Don't.

• Camila Cabello has released the video for 'Never Be The Same'.

• Lily Allen's released two new tracks from her upcoming album, 'No Shame'. Here are 'Higher' and 'Three'.

• The new Streets tracks just keep coming. Here's 'Boys Will Be Boys', featuring Jaykae.

• Shamir has released a new album, 'Resolution', entirely without warning. He's also released new double A-side single 'Room', which he did announce. Those two tracks aren't on the album.

• Vessels are back with new track 'PantherTek'. The band headline Oval Space in London on 28 Mar.

• G Flip has released her second single, 'About You'.

• Maria Usbeck is back with new single, 'Bosue De Bambu'. "It's a song about no limits, a love with no boundaries", she says.

• Jim Perkins has released new single, 'Swimmer Among The Stars'. "This immersive and meditative piece is scored for four double bass, four cellos, four violas and four violins and experiments with the listeners perception of time and space", explains a press release. "It is best experienced on headphones".

• Sampa The Great has won the Australian Music Prize (aka the Aussie Mercury). "I didn't see any of this in my periphery when coming to Australia", said the Zambian-born musician as she accepted the award.

• Check out our weekly Spotify playlist of new music featured in the CMU Daily - updated every Friday.

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Beef Of The Week #394: Grizzly Bear v Live Music
For years, when artists have complained that they're not earning enough money off their recordings these days, people with little knowledge of the situation have snapped back that they should shut up because they're all earning massive amounts from touring instead now.

For the most part, that's not true. Although I don't think I've heard any artist put it in quite the blunt terms used by Grizzly Bear's Ed Droste this week. He told followers on Instagram that "there's no value in [putting on] live music anymore". Talking up Grizzly Bear's current Australian tour, he began an Instagram story by saying: "Music industry [is] fucked. Just found out, despite huge crowds down under, we're basically losing money".

"People always ask, 'Why aren't you coming to Perth, Singapore, Quito?" he went on. "And I'm trying to explain there is no value in [putting] on live music anymore. We feel it's important to bring with us the fullest show we can, with all live instruments and a good light show. But now, when you cut out record sales and [the fact that] we haven't had a car commercial in ages, we literally lose money".

I know you're all starting to lose patience already, what with the 'boo hoo, our run of car advert money dried up', but stick with it.

"The evolution of the music industry is, in my opinion, destroying bands that play music that are mid tier or lower. Nobody cherishes or puts any value into the craft that goes into songwriting or studying music! Yes, pop stars write hits. Yay! They also get branding deals and [corporate] gigs. But when you are dealing with a dying industry and you actually care about a real live show and you aren't a star, there's not much you can do".

Ending in a hyperbolic crescendo, he told fans: "Enjoy it while it lasts. I think we're about to enter a live music drought".

As with anything presented in simple terms, the truth is somewhat more complicated. Making money out of music has never been easy, but at any one time you'll find plenty of artists doing just that. Though the mega-bucks are made by a small premiere league of acts, as has always been the case. And they are still there earning all their millions.

For everyone else bringing in enough money to both live off and power the machine can be challenging. However, it was probably the traditional mid-level acts - who had made a decent living from their music in the CD age - who saw the biggest change when record sales crashed in the 2000s. It is certainly true that for those artists, touring has become an ever more important pursuit, making up for lost record sales income.

That's not to say going on tour is a simple way to make money. Economies of scale mean gigging only really becomes lucrative around a certain size of venue. At the grassroots level it can be hard to profit from even a sell out show. Quite how profitable touring can be, even once ticket revenues mount up, depends very much on the show you put on, and how much it costs to set everything up and move it all from city to city.

Arguably, as touring has become an artist's key revenue stream, and therefore more artists are touring, said artists are under pressure to make their shows stand out. As artists invest more in their shows so to stand out in that way, audience expectations increase. They want a show beyond the band just turning up and playing their songs. And that costs money.

Meanwhile at the top level of live, the big name artists have been slowly increasing their ticket prices, partly due to increased costs, partly due to one-upmanship, and partly due to the knowledge that fans will pay higher prices on the secondary market anyway. This not only means that consumers have less money to spend on smaller shows, it means that big acts have to ramp up their production values to justify the higher price, again raising everyone's expectations about what a live show can and should be.

In the last ten years, I've seen the most amazing live music productions of my life, often from artists who in my teens would impress me if they'd just plugged their amps in. As a punter this is brilliant, but if the logical conclusion of this is that we can only enjoy live music if the artists teleport onto the stage and play instruments made of light, it's probably not going to end well.

Still, like many things people complain about in the modern music industry, this is not an entirely new phenomenon. In an interview this week, Gary Numan recalled blowing all of the money he made in the first few years of his career putting on amazing live shows. Then, as audiences dwindled, he felt he needed to keep up appearances, so continued to throw money at his performances, despite seeing ever decreasing returns.

By the early 90s, he was massively in debt with the glitzy lifestyle very much behind him. However, he says, unable to afford a recording studio, he made an album in his living room and found that he still had enough of an audience who wanted to hear it to start turning things around. He found new ways to interact with those fans too - starting by setting up a premium rate phone line to provide them with information on what he was doing. Now, like many artists, he supplements his live income by doing meet-and-greets at shows.

That's not for everyone, of course. But it does show something about the modern music industry. There is no one-size-fits-all business plan for an artist. So each artist needs to experiment and work out what works for them and their fans. Which, I realise, is really fucking easy for me to say, sitting here on my golden journalist's throne, not out there touring the world to thousands of people and seeing no return on it.

There is no easy answer to any of this though for those artists who have come to rely on touring, but who are finding gigs less and less lucrative because of increasing production costs. Except perhaps, give up and do something else instead. But I don't think that's a solution most musicians would be happy with. Still, any other business in this situation would probably look for alternative ways to make money. Rather than just saying, "things would be alright if a car advert would only feature our soup in it". Or whatever.

Anyway, what should be made clear at this point is that audiences are not to blame. Even though I basically just said that, at least in part, they are. But that's not what Droste thinks.

He later followed up his comments in another series of Instagram posts, saying: "This is not a reflection on any concert-goer or fan. The ticket prices are already absurd, if you ask me. This is, [in my opinion], about the middle men, of which there are more than ever that cut into the pie. I am so grateful to be able to perform for people for the amount of years I have, even at a loss (which we've done many times before)".

"I just wanted to explain why it's not always possible to tour the places in the far reaches of the world we would love to. Especially when an entirely democratic band where there is no leader or chief and we have a strong desire to put on the best show we can. Also, as some people have children I believe it becomes harder to justify disappearing from them when breaking even or at a loss, not to mention the physical and mental toll of touring, which people rarely talk about but is a common subject among peers".

Droste concludes that he didn't want the reaction to his comments to become a "pity party", saying that he "just wanted to shed some light on the logistics of touring places that once we could justify [because] there were alternative sources of income like record sales or commercials".

Ah, so we're back to how much better things would be if only there could be another car commercial. Anyway, Droste, then adds that the signs of his predicted "live music drought" are already apparent. "You can see it reflected in festival line-ups already, in terms of genres", he says. "It's just the way things seem to be rolling along and I'm not sure what changes will come or how the cards will fall".

I think the one certainty is that there's not going to stop being a music industry. Although perhaps that is actually what we need. It's a business that has evolved and changed many times over the last century, nut many of its institutions and middle men have ultimately survived each shift. Do we really need all of those institutions any more? Maybe we should just agree to shut the whole thing down and see if it's then any easier for Droste to go on tour. And perhaps something more suitable for the current era would emerge in its place.

Oh, except then Google would probably just end up running the whole thing, wouldn't they? So maybe that's not ideal. How about we just agree to shut down one music industry institution per month and see whether it turns out we actually needed it? If not, keep it closed. If so, open it back up again.

Alhough with so many institutions to test out, that process would probably take us until the end of time. So we'll have the perfect music business just before the sun explodes and swallows everything we know and understand. But maybe there'll be just enough time for one more Grizzly Bear tour before that happens.

Anyway, here ends today's motivational speech.

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