MUSIC INDUSTRY BLOG

MusicWeek reported that ad-supported music service and download store, We7, which Peter Gabriel co-founded, is rolling out a new monetization model whereby its users get rewarded with points for their session time which can be redeemed for ad-free days of music.  In addition, an ad-free subscription service will be offered as the portal’s premium tier.  The news comes just shy of SpiralFrog’s announcement last month that it will be shutting down.  SpiralFrog, a competing ad-supported music service, was unable to sustain its business model.

P2P streaming music service, Grooveshark, has launched an artist promotion initiative – much like the track placement scheme Jango conceived of – as a means for artists and music promoters to purchase plays on its platform, a direct advertising approach that makes sense.  The Gainesville, Florida, company of approximately 40 young entrepreneurs has created a music service that rivals that of Last.fm and Pandora, the two major players in legal music discovery and ‘free’ music streaming.

Grooveshark claims to have deployed a legal music discovery and consumption model, providing its users with a financial incentive to share music, compensating artist/labels for their respective share of ‘broadcasts’, and maximizing illegal file sharing by financing its original sources.  Whether this service is actually legal or not is questionable and it appears that the company has created an expensive model to sustain on ad revenues alone.  However, they’re coming through on some very interesting marketing features for small budget music marketing campaigns.  At its core, Grooveshark Artists offers pay-for-play audio realestate matched to its existing track recommendations and provides analytics tools for track placement optimization. 

In addition, it has partnered up with some of the most talked about music tech startups for music retail, licensing, funding, and more, including Bandcamp, Sellaband and TheNextBigSound, all under the Grooveshark banner which already includes a number of subsidiary services including Tinysong, a track link generating tool for viral distribution, and  Twisten.fm, a Twitter crawler that finds music-related tweets and links them to playable tracks.  All of this put together amounts to a powerful enterprise of do-it-yourself marketing and a 360 indie approach akin to ReverbNation.

SpiralFrog, the highly profiled ad-supported download service, has shut its doors after a lukewarm reception in the UK and endless content licensing and upper management strife in the US prior.  The company was the first to deploy a ‘feels-like-free’ music download service in 2006 and secured both Universal and EMI, with competitors Qtrax and We7 following suit with similar ad-supported download services, before spiraling to its demise.

Digital music distribution is a hot item on this blog and those who read it know that I keep a close eye on the three major players catering to small independents, namely ReverbNation, TuneCore, and CD Baby.  All three have lowered the barrier of entry for indie artists and small labels to distribute their catalogues to iTunes and other major online retailers for upfront fees as opposed to hefty commissions by the likes of The Orchard, INgrooves, IODA, IRIS, and others, who generally avoid small players anyway.  Now, a new digital music distribution dotcom has emerged but with an ad-supported business model.  WaTunes aims to thrive on ad revenue by providing artists and labels with a free (no frontend fees, no backend commissions) distribution channel to online retailers such as iTunes, Napster, and eMusic.

The slightly questionable website service description and makeshift appearance promises to provide the same level of content marketing and distribution as its rivals, and much more.  In theory, WaTunes is offering a very attractive service to a huge potential market, but is it sustainable?  SpiralFrog, We7 and Qtrax have yet to prove that their ad-supported download services have legs.  In this economy, I’m not sure that any upstart can scale on advertising revenue alone.

Business models aside, I’m somewhat concerned about WaTunes’ cryptic service description and the fact that their web pages are riddled with spelling mistakes and poor marketing copy.  It’s a bit like walking into a fancy restaurant only to notice that the toilets are overflowing with shit halfway through your dinner.  Going with my gut here (no pun intended), I feel that the musician-led platform may be biting off more than they can chew… but I would love to be proven otherwise.  I like free.  Who doesn’t?

Ad-supported music service, Qtrax, hopes to differentiate itself by offering downloads previously only available as bootlegs.  This move may position the company atop of 25 million tracks under this category alone, assuming that that copyright clearance hurdles can be overcome.  In the mean time, Peter Gabriel’s competing ad-supported music service, We7, has announced a partnership with NME.com.  The strategy is geared toward increasing the value of advertising real estate by diverting traffic to the popular British indie music zine which is likely to improve the combined user time spent online and, resultantly, drive more ad revenue.  The two music services have been in the works for some time now and have faced great difficulty in both securing all the major catalogues and financing their operations through advertising alone, a model that will meet further challenges during the present economic downturn when advertisers are being particularly frugal.