I find ways to support artists — to help them connect with fans, get their message across, and strategically use our tools to do that. It’s definitely not a nine-to-five job; I don’t think anything in the music business is nine-to-five. My team has about 11 folks in the U.S., and a few in the U.K., across Europe, Australia, Japan, Korea, India, Latin America. We’re constantly sharing music discoveries with each other about what’s popping in each market.
We try to form really close and genuine relationships with artists. There could be times when somebody is freaking out — maybe there’s an issue with their channel or maybe they’re concerned about how a piece of content is performing. So there is a degree of that. But it’s not so much calming them down. It’s trying to get an understanding of what they are trying to do.
I was at Columbia for eight years and 10 months. I’d spent so much of my career at a label, and in the specific department of video promotion. I came to a realization that I wanted to try something else. I think it’s the best thing I’ve done for my career, being able to apply my experience from a label to a new field.
It’s also sort of like seeing the future — seeing where music is going. When I started at Columbia in the mid-2000s, toward the end of the Napster era even before iTunes was big, the business was changing so much from start to finish. Walking into YouTube, it was like, “Whoa, so this is how things are really going to work in the future.” That’s been awesome.
What’s an underrated or nascent trend in the music business right now? From your perspective at a data-rich tech company, what do you see on the horizon?
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Source: RollingStone - 🏆 483. / 51 Read more »