In NJ, summer 2011, I witnessed a violent conversation about what is the best mobile music app. It pretty much sums up the state of mobile music streaming in 2011:

Alternatives that come to mind are MOG and Grooveshark—both of which share the same main attraction as Rdio and Spotify: on-demand streaming. They are fundamentally different from discovery-centered apps like Pandora. Last.fm and exfm are in the cross. Who’s back do you have…what’s your vote? ▼

There’s a lot of green—as a whole music consumption on the web is clearly increasing. One contributing factor to that is that the percentage of people that have internet access is growing. Notably extreme growth occurred for SoundCloud, OurStage, Bandcamp, Grooveshark, and ReverbNation. It’s understandable why SoundCloud is rocketing—it offers rock-solid tools, widgets, community, and an API. In summer 2010, SoundCloud launched a Creative Commons search page. Like Indaba Music, SoundCloud is heavily geared towards electronic music and producers. IMO electronic music is growing faster than rock and has more room to evolve. In my analysis of the 2009 heat map, I referred to Grooveshark as Jaws-like and this year was another feeding frenzy. Grooveshark now gets more visits than Last.fm. But let’s zoom out and view the bigger picture:

In February 2010, Sysomos reported that approximately 31% of YouTube videos are music—roughly one out of every three. The YouTube Music area on the map below represents this 31%. Its size is roughly equivalent to 3x everything else combined. Compared to YouTube, Grooveshark is a minnow. You want pop perspective? According to the Compete data, ladygaga.com had more visits in 2010 than any other artist, and although her traffic decreased 55% over the year, she still gets 5x as much traffic as nin.com. According to data from Next Big Sound, Lady Gaga videos got played 45 million times on Vevo* in December 2010. Dividing that number by the 2 million unique visitors that Compete estimated for Vevo that month tells us that the average Vevo user watches 23 Lady Gaga videos per month. Scream now if you have to. Who had the most visited website at the end of the year? I thought is was going to be paramore.net, who with over 400,000 website visits in December 2010 had Eminem, Bieber, and Gaga all beat. But it was taylorswift.com who had the most, with close to 600,000—that’s like half of Bandcamp right there.

Bonus tracks: Right now The Pirate Bay gets as much traffic as MTV.com. Based on its current trajectory Pandora will soon surpass The New York Times. The most popular music magazine online is Rolling Stone—2.2M visits in December 2010. The most popular music blog is Pitchfork—1.4M visits in December 2010—like two Hype Machines. NPR is in the same ballpark as Last.fm.

Update 3/20: Based on requests to add additional sites to the heat map, there is now an alternate edition on page two that includes 8tracks and We Are Hunted rather than Thumbplay and Deezer. All are now on the data table. Regarding Lady Gaga’s 45 million plays, Colin—presumably Colin Willis from Next Big Sound—commented that Next Big Sound’s Vevo play count included Vevo plays from YouTube and therefore the 23 Lady Gaga videos per month calculation is inaccurate.

Okay so I obviously “planned” to write this post a little earlier. I even planned to write it last year. ;)

Giving gifts can be really hard, but if you really know someone, it’s much easier. Everyone is different.

Especially for a musician who is eager to promote themselves and be out there, I really like the idea of a pocket HD camera. If you want people to find you YouTube is the place. Get it on tape—not literally. Get it on bits. I won a Kodak Zi6 from Mashable in 2008 and the quality is unreal. Now there’s also the Zi8. I think the right book could be really good, like something on mixing for someone who does that. The best non-fiction book I read this year was Rework by the people from 37signals.com.

• More Ideas:
• Audiofanzine » Christmas Shopping 2010
• Hypebot » 10 Christmas Gift Ideas For Old-School Record Execs

Merry Xmas (or whatever your holiday of choice is:) and be safe! My end of the year posts are coming up next week. If you’re not already, tune in via RSS or Facebook. I better go start my shopping. Don’t worry I steer clear of the mall and I’ve already done some mental preparation. I’m going to hit Barnes and Noble, Campmor, the Polish store (for chocolate), and Total Wine. That should cover everyone!

Photo: digital vincent/flickr.

Mr. Owl, How many clicks does it take to get to the rock n’ roll center of a retail mp3?

Let’s find out. A One… A two-HOO…too many!

Mr. Owl just BitTorrented right into your album because it was easier than buying it on iTunes. It took less clicks.

Jay Frank suggested counting “clicks to content.” iTunes and Amazon send you through more than 10 clicks if you don’t already have an account but P2P takes only four clicks on average, he said. Streaming takes one or two. Think YouTube or Google, who nailed it with OneBox—the player that appears in their search results. “Anything more than two clicks and you’re missing out on the majority”, said Frank, “Impress them fast.”

Ariel Hyatt asked NMS attendees to raise their hands if they’ve ever bought their own songs on iTunes. The crowd was split but most hadn’t. She used the analogy of cooking: you wouldn’t serve food to guests without tasting it first, would you?

“Make it easy to buy” said Tony Van Veen. Have “compelling offers” such as package deals or name-your-price, and “take away the fear of buying” with a money-back guarantee. He told the story about an 80s band (I forget the name of the band but please comment if you know it) who recently sold their entire back catalog + their entire future catalog + free entry to any of their shows forever all for $100. For a superfan that’s a compelling deal.

Ripping and Burning > P2P

Eric Garland and Tom Silverman talked about the so-called problem with illegal downloads. If it’s hosted on an upload site like RapidShare, then “there is a place we can bomb”, said Silverman, “but not with P2P.” Research showed that more music is actually ripped/burned than it is shared via P2P.

Bombing the service provider is no solution when “people and their insatiable appetite for free music are the real problem.” –Eric Garland, CEO, BigChampange.

The desire for free music isn’t going away. Don’t blame the consumer. Musicians need to find ways to work free into their strategy. e.g. Free downloads for email addresses. Use free to convert strangers into fans. Tony Van Veen said, “Free music is the way to do it. Aggressively offer free. Do swaps. Use P2P. …Don’t fear free. …Build your list. …Don’t be afraid to steal a good idea and make it your own.”

Device Dependency

Apple continues to create a major dependence on iTunes through their mobile products—the iPod, iPhone, and iPad—and I don’t think that anything is going to “kill” iTunes without a war. iTunes is the 7-Eleven of media—it’s more convenient and expensive, but it’s closer to home. For many, the iTunes experience is ingrained behavior—a household name—and part of their daily commute so to speak.

Generation Gap

The second huge advantage Apple has is the generation gap. Older people are more likely to have money to spend, and are less likely to adopt something new—especially if it’s less convenient. For Spotify to compete stateside, it will start through today’s youth. I love the Spotify concept, its mobility, and its adaptivity. They are smart to develop/test/improve their service in one location (Europe) before attempting to roll it out in another market (U.S.)—that’s business expansion 101. I hope that Spotify becomes a hit in the U.S. mainly for the sake of the music. Who wants an iTunes monopoly?

Apple Affinity

Apple products have strong affinity, and an army of enthusiasts drinking their Slurpees. Anyone looking to compete with them has to have an equal or greater affinity, and/or introduce something totally disruptive (which Spotify has done to a degree). Spotify has game, but so does Apple, who made a calculated move with last year’s Lala acquisition. One big thing to remember is that music has always been about the experience, and it always has been.

Apple Shuttle

Paramore outperforms both on and off the stage.

Why do I like Paramore? They are kick-ass live performers. But I’ve never seen them in person. Hulu delivered them to me last year when I saw them perform Ignorance on Conan O’Brien. I knew of them before via Andrew Kendall’s photos, but seeing them on Conan is what engaged me to find out more. I searched “paramore live” on YouTube. I was impressed with their energetic live show and fan-driven website, which I wrote about highlighting their fan community and presence in the social web. Paramore fans go the distance because Paramore does the same for them.

Live music trumps studio recordings.

The best music is live music. Right now I think live video footage is the next best thing—whether it’s live-as-in-streaming or recorded live events. I don’t have a cable television. But if I’m looking for home entertainment I go straight to Hulu. As far as TV goes, if it’s not on Hulu, then I don’t watch it. In today’s music industry putting out video content is a must, especially live video content. In fact I think that’s where über-commercial Vevo has it wrong—lacking rawness and intimacy. I’d rather watch bands on Hulu. The concert videos already on Paramore’s channel come from their live album The Final Riot! In my opinion, Paramore’s best videos are the live ones, and on top of the stellar performances the videos have stellar production. But even bands without access to top production can still produce video content by being creative, sourcing their fans to record or produce live videos, and distributing them with free tools like YouTube and Ustream.

Paramore tells a story.

In addition to music videos, Paramore’s Hulu channel contains a 30-min documentary on the making of their latest album Brand New Eyes. They attract fans not only because of their music, but also because they have a story to tell that their fans can relate too. Their story is about growing up—as a band, but also as people, and their fans can relate to that. The album’s theme is seeing people through brand new eyes—you have to accept the past to move on. Paramore has an intimate connection with the Internet Generation. The new channel enriches their existing fan community and exposes them to a wider audience—brand new eyes—on Hulu.

Timeline: Bands on Hulu.

In November 2009 Hulu partnered with EMI and launched a Norah Jones channel. The next month Hulu partnered with Warner Music Group launching the Muse channel in December, the Jason Mraz channel in January, and the Paramore channel yesterday. Hulu’s music content is hi-fidelity and free. Now what more can you ask for besides, well, more Hulu artist channels and frequent content, right?

Human Brain Connections by ethanhein on flickr

Related Posts

• Music Consumption in a 180°—Terry McBride Interviews.
• Musicians—Money Is Not Motivation
• Social Rocks. Mobility Rolls. Music Trends 2009–2010.

Social Rocks.

The stage is lit—music has always been social, and the web continues to make it even more so. Communication is on the rise. People want to share and “everyone who shares is an influencer.” Music discovery is powered by your friends and by recommendation engines—the technology is only getting smarter, and, in their case, everyone who listens is an influencer. Web apps like Blip.fm and Twisten.fm rely nearly entirely on friend-powered playlists and realtime recommendations. Music streamers crave sharing, simplicity, and depths of controls for customizing their listening experiences.

Shareability and community spin music in the social web. Pandora and Last.fm’s widely popular iPhone apps encourage users to share songs they like with their friends as they’re listening to them. Grooveshark’s web interface heavily encourages sharing, and its integration with Twitter via Twisten.fm and Tinysong have helped fuel its rapid growth in 2009. Nearly all of today’s free (ad-supported) streaming sites include links to purchase mp3′s via iTunes or Amazon. Vevo has them, but, YouTube—arguably the largest and most engaging music streaming site—does not.

The Delicious user base has a relatively high concentration of developers, designers, techies, nerds, etc.—individuals likely to have above-average internet savvy. As a group they are an acute filter for quality content. The chart below shows the popularity of the same music websites based on data from Delicious. You can see there is some divergence from the traffic heat map. The most notable difference is MySpace Music, which showed the highest website traffic, but shows the lowest Delicious rank. Pandora is the top-bookmarked music site on Delicious by far, with last.fm second, and Grooveshark climbing quickly. Pandora is also the top-ranked music site on Xmarks.

Musicians—many are at the center of the social mix lifecasting on Twitter, Ustream, YouTube, Facebook, and MySpace. They’re communicating like never before, and evolving the industry. Revenue comes in new forms. The urge to be “indie” is contagious. The amplifiers are on.

Mobility Rolls.

Seven of the top twelve are radio/streaming apps. But smartphones are not just for listening to music. Gigzee is an events app—a location-aware tool for finding shows/concerts in your area. With more people on smartphones, more people can take advantage of location-based services like this. Music creation apps like Virtuoso Piano, Drum Kit, freestyle, NLog Synth, Digidrummer, Looptastic, and Jamble Music Mashups are wildly popular. Every human is an artist in some way—as technology improves more people will find themselves creating, and collaborating remotely. Who’s at center stage now? Creative Commons-released music encourages open remixing via sites like JamGlue, ccMixter, Indaba Music, Jamendo, SoundCloud, and more. Maybe influenced by NIN, many musicians are releasing audio source files for open remixing, fan remix contests, remix apps, or fan music videos.