Sorn said she regularly posts Shorts four to five times a day. Smith relentlessly promoted YouTube Shorts in Singapore, bringing on stage an example of what he sees as the ideal Shorts influencer: Thai-born singer Sorn, a former member of K-pop group CLC, who is now trying to forge a solo career. “Now we are back to chasing numbers and high performance on video views…Instead of a space for creation, becoming a space for distribution.”Ĭontent-production burnout is “something we are acutely aware of - that constant impetus to keep driving and producing content,” said Paul Smith, YouTube Music’s managing director for the Asia Pacific region. Ong, whose firm has handled the careers of Lana Del Rey and (previously) Dua Lipa, expressed concern that artists are burning out trying to keep up with the demands of producing non-stop social content. “It is getting harder to find anything that looks like a unique aesthetic,” she told conference attendees. Wendy Ong, co-president at TaP Music, agreed. Still, with 100,000 tracks being added to music platforms every day “it’s becoming harder and harder for artists, even the most talented artists, to break through all of that noise,” Grainge said. “We can be one big happy value-creating family,” said Obermann. He also acknowledged YouTube’s recent announcement that it had paid rights-holders $6 billion in the 12 months ending June 22.Īs for TikTok, the Chinese-owned company wants to co-exist with record labels and publishers.

Grainge spoke of the “sea change” from where the industry was a decade ago, noting that social media giant Meta, for example, has gone from generating zero dollars for the industry five years ago to becoming one of UMG’s top 10 revenue-generating partners. “People said, ‘It’s great promotion, or you can use it as a platform for discovering new artists…technology platforms were built on the backs of the artists’ hard work and those who invested in artists early in their careers, with very little return.”ĥ Takeaways From All That Matters 2022: TikTok, Web3 and an 'Emerging’ Subscription Marketīut that was then, this is now. “In those early days, we were given a lot of reasons why our artists shouldn’t get paid,” Grainge said. While not mentioning TikTok by name, the UMG chief, however, was quick to warn the industry to “avoid repeating past mistakes,” especially when MTV and YouTube built big businesses without giving much back to the industry. Universal Music Group chairman and CEO Lucian Grainge, who spoke at the conference via livestream video from Los Angeles, called the “explosion” in short term video on social networks a “megatrend that is only going to spread and accelerate.”

Among the biggest takeaways: Short-form video content is posing new challenges and opportunities for artists and labels wanting to profit from the medium - without losing control of what feels at times like a runaway, content-producing hamster wheel. The rapid ubiquity of the Chinese-owned short-form video platform was the elephant in the room for many of the music industry figures who gathered in Singapore for three days of Asia-focused panels (and six nights of music). “I kind of hope so,” Obermann said last week at the All That Matters business conference here. That was the question put to Ole Obermann, the global head of music for TikTok and parent company ByteDance. SINGAPORE – Is it time to make TikTok into a verb?

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