Spotify, Pandora, MOG, Aweditorium and many more aim to provide the ultimate experience in music discovery -- they claim to have the "winning strategy" with their unique combination of an extensive catalog, social media integration, and algorithms. But what about the human element in music discovery? Not just your friend who tells you what’s cool -- which is cool -- but real DJs, with a passion for music and the evolution of an artist. What about websites and blogs like Pitchfork and Stereogum -- humans who write about music and even present the music they write about? In the age of machines, is the human dead? Is there still a need for the knowledgeable, passionate, quirky but unpredictable human?Are hybrid models like We Are Hunted and WahWah.fm the future?In "Man vs. Machine for Music Discovery" KCRW, the noted station in Los Angeles, CA will convene a diverse panel to discuss their potential for success and what they might portend for the future of man vs. machine.
Social media "feed" providers including Rdio, Instagram, Soundcloud, and many more are paired with interactive installation artists to bring their unique feed to life with live SXSW data. #FEED will be made more awesome by Mozilla Firefox. lrnevl.com/FEED2012
We’re going to debate and show prototypes of how printed electronics could save digital music in the context of connecting communities to record labels and artists.
Printed Electronics is an emerging technology with the potential to change how we interact. We can now reliably print basic electronic components onto paper and card; and when connected to conventional electronics, has the potential to re-connect digital to physical for album covers, fanzines, merchandise, and getting new music heard.
We will bring physical prototypes as props in a discussion of what this technology could do and collaborate with the audience to test reaction and potential through hands in thinking.
Raising questions of what does digital mean to independent hyper-local record labels that want to connect with their community and how bespoke digital printed electronics on paper could achieve this and alter the future of digital music and how artists can connect to people.
The Insane Clown Posse, a Detroit gangsta rap group who literally dress like clowns, have leveraged a rabidly devoted fan base to become the best selling indie band of all time (for REAL). They've accomplished this without radio airplay, major label endorsement, or any mainstream media exposure. In addition to selling millions of albums for decades, they make millions in merchandising every year. The group's brand is so far reaching that millions of people who have no interest violent clown rap have watched their viral videos.
We'll look at what the band did historically to garner such a devoted fanbase and how you can do the same for your brand. If these clowns can make 7 figures a year, so can you!
by Ken Parks
As digital music consumption continues to increase, artists and consumers are finding new ways to engage within the digital landscape. Spotify, the leading digital music service, is helping to driving this digital conversation by providing a music discovery and sharing platform which caters to the modern, social consumer, supporting the artist as a engagement tool, and driving increasing revenues back into the music industry. In a fireside chat, Ken Parks, Spotify's Chief Content Officer & U.S. Managing Director and David Draiman, lead singer of Disturbed, will address the future of the music industry and where Spotify and the artist fit into this conversation.
by Brian Satterwhite and Cliff Martinez
Cliff Martinez began as a drummer for unconventional bands such as The Weirdos, The Dickies, Captain Beefheart & The Red Hot Chili Peppers. The desire to not wear a sock on his genitals at age 40 and an interest in new technologies led Martinez toward the world of film music. His first film was Steven Soderbergh’s first theatrical release (sex, lies, and videotape) and led to a longstanding collaboration with the director on films such as The Limey, Traffic, Solaris & 2011’s Contagion. His time in the punk rock scene has made Martinez’s scoring approach nontraditional. His scores tend towards the sparse, utilizing a modern tonal palette to paint the backdrop for films that are often dark & psychological like Pump Up the Volume, Wonderland, Wicker Park, & Drive. Join Cliff and moderator Brian Satterwhite, a film music journalist and UT Film Music Lecturer, as he discusses his body of work and techniques for keeping the sock from slipping off.
Can making the musical experience more social and shareable help the music industry survive? The degree to which any new digital music company will be successful will be based on their ability to engage people. Music is a social construct, and while people still sit at home listening to music alone, they are more likely to share their music experiences if given the tools.
The cloud has enabled people to do much more with music from interacting with the art, songs, and ephemera around their music, to being able to create their own content and layers around their music discoveries.
Will rich social functions - discovery, visualization, playlists, interactivity, maybe even game aspects, coupled with ease of use around multiple connected devices (i.e., go seamlessly from computer to phone to car to living room), find enough success to save the music industry?
This panel will investigate the different social and interactivity tools the music industry can use to add to their bottom line.
In the intersecting worlds of music and social, how are startups and artists working together to enhance the music experience? By embracing mobile and social networks, bands are able to connect with their fans and interact with them directly. Companies like GroupMe, Mobile Roadie and GetGlue provide platforms for direct communication between fans and music labels, artists and festivals, fans use them to pull in info about their favorites and share the experience with their friends. During live events, mobile networking apps are helping people connect, coordinate plans and interact with their favorite musical personalities. By using technologies like these, artists and festivals can grow their fanbase, maintain loyalty and utilize a direct channel to provide relevant information to their fans, wherever they are, in real-time. These panelists will share their experiences working with music labels and how they went about building apps to provide consumers with the best music experience.
Turntable.fm came from out of nowhere to become the most addictive new music service. The success of the service shows how we are entering a stage where owning music as an individual is less important than playing it together as a community. Artists are embracing the service as a way to connect directly with their best fans in a live synchronous environment; Talib Kweli, Diplo, ?uestlove, Manchester Orchestra and Ra Ra Riot have all been seen spinning tracks.
In this fireside chat, we will discuss the evolution of and vision for turntable- how can users, artists, agents, managers, labels and advertisers all participate in and benefit from this social music experience.
For 2012 SXSW is highlighting Austin's local art scene in the Trade Show Meet Up Pavilion. A full gallery of work by Austin artists is installed in the Pavilion. Stop in anytime the Trade Show is open to enjoy the art and join us Tuesday, March 13 from 1:30 to 2:30 to meet the makers themselves. (Pattern Land 1 by Callen Thompson)
What do Trent Reznor, Daft Punk, Linkin Park and The Chemical Brothers have in common? They are recording artists who have crossed over into the world of film composing. This panel will discuss why more filmmakers and studios are turning to musical acts to give their project a distinct original sound and the importance of diversifying as an artist. From collaborating with filmmakers vs. band mates, developing soundtracks and blending their unique sound into score, artists will give a first hand account of their experiences and their significance in the marketing of the film. Key players will be defined, what role they play in the scoring process, how to grab their attention and land the gig.
Radio no longer drives music sales - social does. In fact, if you get your strategy right, you can drive sales almost entirely through your existing fans.This panel session will be led by Crowd Factory CEO Sanjay Dholakia along with 4 other Music Industry Leaders who specialize in Social Media in order to look at new social marketing techniques that mobilize a fan base to rapidly build awareness and buzz around new music and artists. The discussion will focus around fan-fueled social marketing strategies being used by top artists such as Jennifer Lopez, Britney Spears and Robin Thicke as well as emerging artists such as Cady Groves. The panel will examine group deals in the music industry and as well as how radio has shifted to social. In addition panel members will provide tips for social marketing that work for both established and emerging artists including insights into the group deal that helped land Britney Spears' "Femme Fatale" at #1 on the Billboard charts.
Producing X Factor US for the first season was no small task. Wrap new social TV strategies around the promotion and production and you've got quite an act! In this session you will learn how social was integrated into the X Factor on Fox across production companies, broadcasters, and social integration partners. Learn about the impact and payoff from social integration in the show and digital, and how TV and social industry leaders see this changing the way TV is produced in the future.
by John Bolton, Bobby Rosenbloum, Archie O'Connor, Aaron Ray and Jeff Roberto
Navigating the mobile-digital music landscape is difficult at best. The growing number of mobile music providers who is focused on or struggle with - how to distribute, monetize, drive downloads, and engage in consumer behaviors. This session will feature insights from key stakeholders in the mobile music space, including service providers, managers, musicians, lawyers, and platform technologies. We will discuss pain points within this space and effective best practices to minimizing barriers. Music downloads to mobile phones is a $2.4 billion industry today and is expected to hit $5.5 billion by 2015 (Jupiter Research), yet the discourse between the stakeholders has yet to mature. Come join the conversation and be at the forefront of the mobile music revolution. This session is sponsored by InMobi.
Radio has long been the principal pipeline connecting fans to artists. Even today it still accounts for 80% of the time Americans spend listening to music. But this medium is now undergoing a profound transformation driven by the arrival of ubiquitous internet connectivity. And this transformation has dramatic implications for musicians. Tim Westergren, founder and chief strategy officer of Pandora, will discuss his perspective on what it means for artists and the larger industry.
Showcasing DJ and live music performances from the FADER FORT, brought to you by Converse.
Housed in a first-of-its kind structure for SXSW, the 3-domed Nokia Lab located at 2nd and Brazos will give SXSW Interactive attendees an engaging sneak peek behind the scenes, as it relocates its R&D lab from snowy northern Finland to warm central Texas. Guests will have the opportunity to check out the new Nokia Lumia portfolio of Windows Phone devices, including the much-anticipated Lumia 900 from AT&T and the recently launched Lumia 710 and 800 devices. In conjunction with The FADER FORT Presented by Converse, Nokia will be showcasing DJs and Live Music with three nights of teaser performances during SXSW Interactive at the Nokia Lab.
Check out Nokia's official blog at http://conversations.nokia.com/s... for all of Nokia’s activities at SXSW 2012!
Full Nokia Lab Schedule:
Saturday, March 10 4:00pm-8:30pm - FADER DJ Sets
Sunday, March 11 8:00pm-1:00am - Deniro Ferrar, Hood Internet, and more
Monday, March 12 4:00pm-8:30pm - Gigamesh, Oberhofer, XV, and more
Tuesday, March 13 4:00pm-8:30pm - Cassian, 2 Chainz, Free Energy, and more
Oklahoma’s OKPOP Museum and the Woody Guthrie Center and Archive provide food, drink and music to discuss film+interactive+music.
by Scott Snibbe
For twenty years, Scott Snibbe has advocated for a new form of interactive entertainment that moves beyond video games to treat interactivity as a full medium in its own right. He argues that interactivity has the same potential for emotional impact and engagement as cinema and music. In this talk, Snibbe will present two of his companies’ most powerful interactive experiences from last year, which point to the growing maturity of this medium: Björk’s Biophilia App, the world’s first App Album; and The James Cameron Avatar Experience, a fully immersive gestural interactive exhibition.
Scott Snibbe will discuss these two ends of the interactive spectrum, and the space between: from intimate apps beneath our fingertips, to fully immersive, social exhibitions spanning thousands of square feet. He will situate this work among selections of twenty years of his companies’ interactive exhibits, interactive art, and interactive music, as well as key examples from the last 30 years’ history of interactivity, and make a bold claim for the rise of this medium to rival movies. Snibbe will also discuss the educational, societal, and industry benefits of interactivity; and the joys, challenges, and research involved in the creation and distribution of these new forms of interactive media.
by Rick Schwartz and Tom Perry
Over the past decade, we’ve seen consumers opt for digital downloads over the almost-extinct CD. In 2010, CD sales suffered a 20 percent decline for the fourth year in a row, with digital downloads garnering a 13 percent increase. With the proliferation of new cloud storage services and music streaming solutions (e.g., iCloud, Amazon, Pandora, etc.), we are now seeing another shift in the way music is consumed. With these new services that offer anytime, anywhere access to music content, will the once-revered digital download be the 8-track of the future?
This “Core Conversation,” led by PacketVideo’s content manager, Tom Perry, will offer a platform for attendees to discuss the future of music consumption. Participants will be prompted to offer opinions and insight into how this shift away from digital downloads will impact the music industry as a whole, and how new music services will foster the consumer need for anytime, anywhere access to music.
by Nive Nielsen
If you got a team of the greatest children’s book writers in the world together, they couldn’t invent Greenlandic folk pop singer Nive Nielsen. In her case at least, band bios are simply stranger than fiction.
A few facts about her: The first concert she ever played was for the queen of Denmark on national television; she acted in the Hollywood movie The New World starring Colin Farrell; and she actually is Inuit — well, Inuk — an indigenous Greenlander. Also, it’s daylight all summer where she lives.
A few more facts: She plays a little red ukulele in a band called the Deer Children with her boyfriend, multi-instrumentalist “Cowboy Jan.” She writes songs about love and reindeer and forgetting to make coffee. She won an IMA independent music award in the US, and was nominated for the Nordic Music Price, worked with Howe Gelb, Tchad Blake & John Parish and friends from such indie royalty outfits as The Black Keys and Wolf Parade. Really, I ´m not making it up.
What’s even more surprising is that her fanciful back story is matched by her own ability to tell stories or sometimes just hint at them with her warm, reedy voice. Sometimes she sings out with and old-timey quaver; sometimes she sings in a soft, childlike murmur. The songs themselves are straight out of a storybook that never was. They could be from anywhere, and they are hard to place in time. They are hummable folk melodies with a streak of vocal jazz, or cowboy ballads with an elfin side. They have a way of sticking in your mind — and not just because they were written by the only Greenlandic Inuit indie ukulele player that you can think of off hand. Snow Songs? Inuit Indie? Do check them out!
The Safe Harbor Room is a place for people in recovery to meet during SXSW. The sessions are informal and supportive. SXSW is a challenging atmosphere for those who choose sobriety. All are welcome to come to the Safe Harbor Room to meet with like-minded attendees.
The Electronic Frontier Foundation (EFF) is proud to present Hank Shocklee, Dan Friel, and special surprise DJs for a night of remixed, recreated, and downright DIY grooves where music, tech, and policy makers converge. Live streaming by BitTorrent. EFF is the leading civil liberties organization defending freedom in the digital world, and we are pleased to bring this party to Austin.
Join famed Indie-Film Director Robert Rodriquez and friends for a special night of Latin-fused rock and roll by Chingon & Tito and Tarantula. Chingon & Tito and Tarantula have been featured on the soundtracks of Rodriquez’s films Desperado, Dusk Til Dawn and Machete.
Check them out here:
9th–13th March 2012