2019 is here and with it is the the brand new collab between two of Italy’s finest, Danny Ores & Flaremode. It’s titled “Nutty” and lives up to the name, packing enormous hype and energy into the full three and a half minutes.
Danny Ores had a massive year in 2018, releasing on Dannic’s Fonk label and earning
the attention of legends like David Guetta, Bingo Players, and Fedde Le Grand. Flaremode was on a roll too, cementing a residency with Billboard Radio as well as releasing huge tunes on Smash The House Records and capping the year off with the electrifying single “Front To Back” with Rivero.
Together, Danny Ores & Flaremode prove to be an amazing team and “Nutty” is a track you can expect to hear in heavy rotation all year long.
Stream Danny Ores & Flaremode’s “Nutty”
Carl Cox returns to San Francisco on March 22nd to perform at the Midway to raise funds for his theme camp, Playground. All proceeds go toward the camp with all DJ's donating their services. The fundraiser is the only such event done for the benefit of the theme camp and will be one of only a handful of US performances that Carl will do in 2019.
This will be his first US show of 2019.
Carl & the Playground Camp
Carl has become a fixture at the counter-culture event going on ten years now, and has a special place in his heart and mind for the both people and the experience itself. He knew after his first Burning Man experience, that he had the soul of a burner and vowed to attend every Burning Man he could.
Carl started his Playground Camp as a way to celebrate all that Burning Man is, and as a way to give back to a culture that he loves. It started small and most who landed in the camp that first year were those just passing by to get someplace else, but the music and vibe pulled them in. From that humble start it has steadily grown over the years and in a very organic way because the energy, music and people are what makes Playground so special. Each year the camp receives hundreds of requests to join and Carl makes every effort to include as many new members as possible.
When Carl returns to the playa with Playground this year, you can expect that he will make the experience unforgettable in every way possible and put every bit of raised funds toward an even more amazing production than last year. From Playground's welcoming lounge area with space to chill and drinks on tap, to the now iconic Arrival stage, you can bet that Carl and the whole Playground team are always striving to deliver an immersive experience to remember forever.
Carl counts his time in Black Rock City as some of the best times in his life.
Please join Carl Cox on March 22nd at the Midway in San Francisco for a night filled with family, music and the best vibes on planet earth.
While they last, you can get your tickets here
The myth of lucky is now a childish story. It was very useful for the major companies of the music industry to sustain that fairy tale concept so the investments in this sector would be through them. Most people in general, including some people that work with music, don't see this industry as profitable as Tech and Startups because most strategies and companies in the music sector don't share their studies and projects. It's not seeing as a popular investors sector, because it lacks of popular information. So every success is covered by untangible adjectives instead of clear study and improvement. But as the music industry had to evolve and accept technology not only on the production area but the distribution too, the numbers started to show and they are so big that is impossible to buy the idea of " You just need to find the talent " or "Good music speaks for itself " when you see that major companies invest 4.5 billion of dollars in marketing and A&R per year, so 26% of their music revenues goes to this sector, also pointing the average investment in the marketing and promotional sector is US$200,000 to 700,000 for a single emerging artist. If it speaks for itself why they invest more in marketing and promotion than the US$150,000 to 500,000 that is the average investment in the music production of the same emerging artist. You don't often see people talking about that music companies are spending more on consumer insights to take more advantage of marketing platforms, that one of the keys of using streaming services is to have target in a more effective way individual groups of consumers... And just by knowing that "The major labels combined have around 7,500 artists on their rosters and tens of thousands more are signed to independent labels." - IFPI - and the total investment in average to an emerging artist is US$500,000 to 2.000,000, is very weird that this is not a headline. If this is the usual cost of one of the 7,500 artists and is spend 4.5 billion per year in this sector, how much should be the profits? How much should be profits over a song, over a hit, since US$150,000 to 500,000 is invested on an album of 8 to 14 songs but only 2 to 3 songs will be really considered to be a hit. How many incomes a single artist can make that worths this usual investment in new names per year? Is not enough saying that the opportunities for incomes over the artist are really huge from live to merchandising. It needs to be clear that independent record labels are now startups, and more than 54% of our revenues are digital, we are the art with technology, not only on the distribution but also in the performances. Remembering that a song can earn royalties for more than a lifetime and faster than most products of most of the other industries since the payout of streaming is every 3 months and a good strategy, might take a song to more than 1.000,000 plays in a month, on an emerging artist. This represents one of the incomes and how fast is profitable without considering performing rights, tours and many others.
I'm 25 years old, I'm an artist of EDM, singer, songwriter, producer, writer, and columnist, I own a record label in the USA and one in Italy, and I've studied the music market for the last 5 years, my experience varied from independent to major record labels, from South America, Europe, and US market. I'm an insider, but many of these numbers are free knowledge, I'm just saying that things evolve and this is a Tech and Startup business, the strategy is successful, but some crazy ones wants more. I'm not afraid to reveal what is there, because entrepreneurs like myself want more.
The Kraken Music