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When I moved back to Singapore at the end of 2011, barely anybody in the developed music markets had an “Asia strategy”. Today there isn’t a single music creative or professional that isn’t aware of, and shouldn’t be highly invested in, this region.

At the start of 2011, I was the Label Manager of Warp Records for North America, based in LA. I had recently had my first Billboard Top Ten record (Grizzly Bear’s Vecketamist), was nominated for my first Billboard recognition (appearing in their 30 Under 30 list) and was just nominated to the Board of A2IM. It was an incredible time to be in independent music in America, and I was a rising star.

That was also the same time I went home to Singapore for a holiday, and to watch the first-ever edition of Laneway Festival Singapore. It was at that festival, watching artists like !!!, Beach House and The Temper Trap perform in that market for the first time – to thousands of rain-soaked, happy fans – that I first realised there was an opportunity for me back in Asia.

I moved back later in the year, just in time to experience first-hand the incredibly explosive growth that Asia continues to experience.

Spotify launched in Asia in 2013, followed by Apple Music in 2015. Every year since Goldman Sachs started publishing their Music In The Air paper six years ago, Asia has shown record growth across the region in all areas of the industry, with markets like Thailand and Vietnam showing double-digit growth in the last few years.

Most artists today, especially Australasian artists, would have Quezon City, Philippines (aka Manila) and Jakarta, Indonesia in their Top Ten, if not Top Five markets for socials and streaming.

Southeast Asia is home to large volumes of incredibly enthusiastic, expressive and loyal music fans. Some of Australia’s closest neighbours are some of the largest and most influential markets in the region – Indonesia with 275+ million, Philippines with 115+ million and Vietnam with 98 million. They are also top global markets for our favourite global platforms like Spotify, Meta and TikTok, making them incredibly accessible to Australian artists and businesses.

Touring across Asia has also become more accessible with a range of different sizes and styles of festivals emerging across the region. There are established, locally produced events that have been running for over a decade – like We The Fest in Jakarta, Clockenflap in Hong Kong, NH7 Festival in India, and Busan Rock Festival and HipHopPlaya Festival in Korea.

There are many newer local festival properties that are quickly gaining global awareness and popularity, too, like Maho Rasop and Wonderfruit in Thailand, and LaLaLa and Joyland in Indonesia. Several large global festival properties have also launched in the last few years, like Rolling Loud Thailand, Lollapalooza India and Ultra all across Asia. There are also great conference and showcase opportunities like GMAs in Taiwan and Music Matters in Singapore.

India is another very valuable market for Australasians, as it has completely opened up to international music across all genres post-covid. India is YouTube Music’s #1 market, has five to six viable local touring markets, and hundreds of millions of English-speaking music fans prepared to invest in their favourite artists. NH7 Festival in India has even offered our members the opportunity to submit an emerging artist to perform at their festival this year via a Perk on the GLP Platform.

In the last decade, Korea has been the most successful Asian market to export their content, and over the last few years, it has also been a great market for Australian artists to find opportunities to develop within. Local services like MELON feature more international content, services companies like EMA allow you to invest in marketing directly, and showcase festivals like Zandari Festa and MU:CON are available too.

Fuji Rock Festival and Summer Sonic Festival Japan have been on every Australian artist’s wish list for over a decade, but to get on their radar required serious investment and usually a local licensing arrangement which made it out of reach for most independent artists and many major label artists.

Last year we hosted two member mixers in Tokyo and we are incredibly excited to report that there are tons of opportunities available in that market – third-party label services, collaborations with local artists, dozens of festivals and live houses to perform at.

Gig Life Pro offers All Access Members incredible opportunities to attend an event and connect with local industry and creatives across the region via our Gig Life Pro Explores trips. We have current partnerships with the Busan Rock Festival in Korea in October and Maho Rasop in Thailand in November and are in discussions with several others, as well.

Gig Life Pro was built to showcase all that APAC has to offer, as well as tools and services to help Australians navigate the opportunities. Whether you are curious about the region and want to take your time learning through our content and engaging with other members on the platform or you want more specific and immediate assistance via our on-platform consultants, we aim to provide tools for our industry to get connected and learn at every level and price point.

Over 1,000 members from across the globe are currently signed up to Gig Life Pro, from companies as diverse as Live Nation, The Orchard, Maho Rasop Festival, FUGA, Warner Music, Lonely Lands, Sony, Clockenflap Festival, Partisan, Ditto, SXSW and SXSW Sydney, Wasserman and plenty more.

Head here to learn more.

After a two-year run, ODESZA tied a bow on The Last Goodbye era with an epic series of finale shows that were filled with surprises and more.

The post ODESZA Closed Out The Last Goodbye Era with Awe-Inspiring Shows appeared first on EDM Identity.

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Introduction During a Senate hearing, Senator John Kennedy questioned a judge, referred to as Judge Lopez, about her past record on sentencing criminals, especially in cases involving sexual abuse and domestic violence. Sympathy for Criminals Over Victims? Senator Kennedy began the questioning by suggesting that Judge Lopez might have more sympathy for criminals than for […]

Eric Prydz, AKA King Prydz one of our favorite producers ever is back with a new instrumental track titled “Opus“. This record has the “Prydz Feeling” written all over it, and it makes us remember the legendary EP/IC Concert played all around the world. Massive track with a great build up and overall production – click play, turn up the speakers, and enjoy – you will not be dissapointed.

Eric Prydz Online

Opus on Beatport

 

The post Eric Prydz – Opus appeared first on EDM Bangers.

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Magdalena Bay have released a new video for ‘Death & Romance’. The track is their first for Mom+Pop Music, and follows on from their recent Mini Mix Vol. 3, a seven-track collection that in turn follows the duo’s 2021 album Mercurial World. “Imagine rain pouring, streetlights glowing,” they say of the single. “You sit at home and wait for your alien boyfriend to pick you up in his UFO… but this time, he’s not coming.” [via Dork]

23-year-old, Maryland-raised and LA-based songwriter Jordana Nye returns with a new single, ‘We Get By.’ A rollicking golden folk epic sprinkled with shimmering yacht rock glitter, the standalone track ushers in a new Laurel Canyon era for Jordana, who in between tours with Local Natives, Remi Wolf, TV Girl & Wallows, has been working on material since 2023. The song, which was produced by Emmett Kai, Jordana says is about “true love.” Listen and watch the affirming and perfectly tongue-in-cheek Otium-directed video below. “‘We Get By’ is about true love,” says Jordana. “It’s about leaving any materialistic things behind and basking in the appreciation of the truest loving from a pure ground zero — whether that be with yourself or with someone else. We could leave everything we have and still be happy.”

Sugar, spice, and everything nice color the vibrant music video for ‘Right Now,’ the latest release from powerhouse girl group NewJeans. The record arrives as the precursor to their forthcoming single and mini album Supernatural, which finds the five-piece performing in Japanese. Directed by Youngeum Lee, the Takashi Murakami-collaborated video follows NewJeans as their animated counterparts mix up ingredients to create the perfect concoction to cure Hanni’s broken heart. At the start of the visual, the singer makes a brave first move and invites her crush over to watch a movie, but when she only gets a flower emoji back in response, it sends the group on a collective mission to decipher what the cluster of colors could possibly mean. “Your chance is here and now,” NewJeans warns on the song’s second verse, reminding their romantic prospects that time is of the essence. When Hanni’s crush double-texts to clarify that the flower text was an accident at the end of the video, the scene closes out with the appearance of the dreadful three-dots indicating that the other person is still typing. The cliffhanger ending sets up a world of possibility for Supernatural, out June 21. [via Rolling Stone]

MOTHICA has released a new music video. The new music video, for the track ‘Toxins,’ is taken from the Los Angeles-based alt-pop singer-songwriter’s upcoming new album, Kissing Death, which is scheduled to be released in August this year, via Heavy Heart Records/Rise Records. Speaking about the new song, the artist shares, “’Toxins’ is the first song that made the record, since I originally wrote it for a Halloween release in 2022. I loved the image of a spider singing to its freshly caught prey. It took on a new meaning with the grim reaper as this stalker or dark shadow that followed me around, even when I made strides to get better like going to therapy or getting sober. The analogue synths David Burris put in the chorus definitely inspired the sound of the record, taking influence from the darkwave genre.” [via Distorted Sound]

Brighton power duo ARXX unleash playful ‘Good Boy’ via Submarine Cat Records. This follows prior single, equally lighthearted ‘Crying In The Carwash’ and acts as a second sneak peak into a soon-to-be-announced larger project. Laden in harmonies, a hypnotic thumping beat and dripping in spicy, submissive tongue-in-cheek lyricisms, ARXX consider ‘Good Boy’ their “big gay anthem”. On the track, they say, “It’s a little bit saucy, it’s a little bit cheeky and it’s a lot of fun! It’s a song about feeling good and making other people feel good. It’s our favourite song we’ve made so far, we hope it makes you feel good.” Undeniably groovy, this suggestive tune is bound to get you on your feet. However, whilst raunchy in its auditory nature, the video takes a more literal and adorable stance on the phrase ‘Good Boy’, seeing almost a dozen dogs audition for their spot in the Good Boy Academy, featuring Hanni and Clara judging and dancing with the contenders.

Suki Waterhouse has returned with news of her second collection of mellow alt-pop following her 2022 debut I Can’t Let Go. The actress/musician will unleash Memoir of a Sparklemuffin on September 13 via Sub Pop after gaining traction on the festival circuit over the past two years. In the meantime, Waterhouse has shared the record’s first single in the form of ‘Supersad,’ a polished garage-rock anthem merging scuzzy guitars with the singer’s soaring and, well, at least a little bit sad vocals. “I tried to write a ’90s song you could hear playing at the mall in Clueless or as an opening track for Legally Blonde,” she shared upon the track’s release. The track also arrives with a music video that embraces those vibes equally well. [via FLOOD]

Self Esteem and Moonchild Sanelly have teamed up for a collaborative new single, ‘Big Man’. The song marks the first release from the former – aka Rebecca Lucy Taylor – since her BRIT and Mercury Prize-nominated 2021 album, Prioritise Pleasure, and “explores the nuances of modern masculinity and gender roles”. “I’m a big man/ Yeah, I’m a fucking big man/ What are you?” the pair sing over an electronic beat. Speaking about working with South African musician and dancer Sanelly, Taylor explained: “Me and Moon wrote a song from the perspective of a good boyfriend. The ones that are just chill and secure so they just leave you to it. The ones that don’t want a medal for doing the bins. The ones that see that you’re working your tits off so they go and get yet another thing you’ve ordered and missed the delivery of from the post office. The ones that don’t take your success as a direct threat to their existence. To me, this is real masculinity.” She continued: “We have both collaborated with Johan Karlberg on our records and I’m so grateful to him for introducing us, it was a joy to make this song together.” ‘Big Man’ arrives with an official music video, which Taylor described as “an inverse ‘I Want To Break Free’” by Queen – referring to the band’s iconic 1984 visuals. The clip sees the two artists undertake various household chores while donning oversized suits. [via NME]

To usher in the official start of summer, Pop-rulebreaker UPSAHL makes her long awaited return with a brand new single and accompanying music video titled ‘Summer so hot,’ out now via RCA Records UK. ‘Summer so hot’ kicks off a new era for UPSAHL as she demonstrates her sonically elevated new sound. Destined to be played on a speaker out by the pool in warm weather, the track is a sexy summer anthem showcasing UPSAHL’s breezy vocals, impressive breath work with packed lyrical verses and an electro-infused bassline keeping the beat. The music video, replete with fans, ice cubes, and popsicles, emphasizes the sweltering heat UPSAHL is doing her best to cool off from. Alternating between a poolside dance party (from which you can see the detritus of the previous night’s debauchery strewn across the lawn) and a sensual video shoot in the cool confines of the house, UPSAHL perfectly encapsulates what a typical summer hang looks like in the throes of soaring temps. On the track, UPSAHL shares: “I wrote ‘Summer so hot’ in the middle of winter in London. I was feeling nostalgic for that perfect summer day where all fucks fly out the window, you’re just being present with friends, and escaping to wherever the day takes you.”

Italian-born, London-based riser Sans Soucis has shared another preview of their forthcoming debut album Circumnavigating Georgia, which now has a confirmed release date of October 9. New track ‘If I Let A White Man Cut My Hair’ is a homage to the significance of nurturing Black communities, and a testament to how even small, everyday acts can serve to resist structural marginalisation. “I think when you build your personality around everything that society wants you to be, then you also agree to a lot of norms that don’t belong to you,” Sans Soucis – aka Giulia Grispino – has said of the laid-back, groove-infused single. “But to really own my narrative, I needed to move on because I didn’t want the society I live in to tell my story for me”. [via DIY]

Multi-artist talker recently dropped her debut album, I’m Telling You The Truth. Along with the album’s arrival, she has shared a video fot ‘Return to Sender.’ Directed by Sylvie Krakow and choreographed by Nadine Olmo. talker’s Celeste Tauchar on the video: “I worked on the Return to Sender video with my good friend Sylvie who also directed the ‘TWENTYSOMETHING’ video. We already have a relationship where we really push each other to go for crazy concepts in our work, and I love working with her so much because she doesn’t think any idea is too much. She’s always going to find a way to make it work, and I’m the same way. Sylvie instantly saw the funeral idea when she heard this song, and together we unpacked the idea of having a funeral for my relationships and my emotions. We paid homage to the album’s intro track, which encapsulates putting to rest all of the experiences and negative moments in my past that I unpack in the record. We brought in Nadine Olmo to choreograph the dance, which of course was amazing. She’s worked with Olivia Rodrigo, Blink-182, PVRIS Tinashe, just so so many amazing artists and it was both intimidating and a huge honor to work with her, and that she wanted to be part of it.” Celeste tapped into her dance background, but it’s been a long time since she used her body in a way to physically tap into emotions. “It brought me to a whole different plane with expressing the song and getting back into the headspace, because I wasn’t just singing the lyrics and thinking about them. The song was seeping out of every part of my body and I really felt drained the next day, physically and emotionally. But I’m so happy with how it turned out, and I think it’s the most fitting way to paint the full picture for this song and really tell the whole story. And since it’s coming out the same day as my album, I wanted it to be as honest and raw as possible.” [via Northern Transmissions]

The post first appeared on She Makes Music.

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Igor Elie-Pierre, known as IGOR360, splits his time between Paris, New York City, and Toronto, crafting a fusion of art and technology. Driven by a passion for creating true emotional experiences, he endeavors to infuse humanity into the digital realm. Igor’s journey intertwines diverse artistic disciplines, establishing him as a vanguard in exploring the intersection of creativity and technology.

Igor’s impact spans multiple fields, from fashion to performance art. His immersive visual identities and multisensory branding strategies tell his tale and show how much this means to him. Now, with his latest project, he aims to make an even greater impact by pushing to the edge of empathy and connection in the digital age.

‘PivoT’, his new EP, embodies a seamless blend of musical genres and cultural influences. The accompanying dance film, “Merged Subjects,” performed by contemporary dancers Emma Gordon and Madison Lynch, acts as an icing on the cake. Their intuitive movements and captivating visuals delve into themes of moral intuition and intersubjectivity, making this project a excellent exploration of digital and human interaction.

The post IGOR360 – PIVOT appeared first on By The Wavs.

Here is where I post, at a frequency of about once a week, a list of the new music that caught my attention that week. All of the releases listed below I’ve heard for the first time this week and come recommended. Anthony Braxton Saxophone Quartet – Sax QT (Lorraine) 2022 (2024)Nick Didkovsky – Profane […]