This week, Aldous Harding returns to the top of our Albums chart and David Dallas sails back into the top spot on the Singles chart. Elsewhere, we have announced a members-deal with Phantom, the Going Global artist applications are open, the APRA Silver Scrolls Top 20 is out – and we eat a lot of popcorn while the ‘fake artists’ story unfolds across this week. Stay warm, everyone!
Phantom Billstickers and Independent Music NZ announce member-deal.
Independent MNZ is proud to announce a new members-only partnership deal with Phantom Billstickers Ltd, who have been New Zealand’s largest nationwide poster placement company for over 30 years. The poster campaign deal on offer to IMNZ members (Artists & Labels) covers discounted printing and placement across New Zealand. The campaign services can include Broadcast Street Posters, Site Selected Street Posters and Shop/Café Posters & Flyers (aka Retail Placement).
Jamey Holloway, General Manager of Phantom Billstickers says, “Phantom has grown from our beginnings postering for gigs and we have always been dedicated to supporting Aotearoa’s artists. We view this new deal as a continued pathway for helping out more kiwi music makers and their promoters – we are proud to be the preferred supplier of street poster services to IMNZ and its member artists & labels.”
IMNZ General Manager, Dylan Pellett says, “As our membership grows year-on-year and the IMNZ organisation continues to increase it’s capacity, it is wonderful to actively engage with companies who can provide additional services to our members under a collective agreement. We view this as a growth area for our members to access, and will continue to look for this kind of valued support from other companies in the future. Nice one, Phantom!”
Members of IMNZ are encouraged to get in touch with Phantom to discuss upcoming media & marketing campaigns and enjoy one of our IMNZ membership discount benefits. About Phantom:
Born in 1982, Phantom Billstickers now cover 16 centres with superb street poster sites and cafe coverage the length of Aotearoa from Whangarei to Invercargill. Local musicians qualify for some free postering as of right and their staff are dedicated to their core function; helping artists take word to the streets. Call on 0800 742 686 or email firstname.lastname@example.org
IMNZ is a non-profit trade association providing collective benefits and exclusive opportunities to all our members to help grow their businesses. We stand for fairness and equality for all music and encourage open and transparent systems and industry in which creative innovation is at the centre. To join IMNZ, please visit www.indies.co.nz
INTERNATIONAL AND INDUSTRY NEWS
AK.75-85 Music Photos By Murray Cammick
After the success of the 2016 Flash Cars show, Murray Cammick returns to Black Asterisk Gallery with a selection of music images with AK•75-85. Once again Cammick is exhibiting limited edition, silver-gelatin prints derived directly from his negatives and printed by Jenny Tomlin.
In this show Cammick has not strayed far from the Queen Street of Flash Cars, as the music of the day revolved around inner city venues. The offices of RipItUp, that Cammick co-published, were never far from Queen St with the most classic location for the magazine being above Stones’ Shoes on the corner of Darby Street and Queen Street.
When RipItUp started in June 1977, Cammick and original editor Alastair Dougal were not aware of how radical the changes in music culture would be as the decade ended. Foreign punk/new wave acts like The Ramones, Iggy Pop and Blondie visited and locals like The Suburban Reptiles, The Scavengers and Toy Love put some energy into the scene.
New Zealand musicians were inspired by the success of Split Enz overseas and original writers like Hello Sailor, Th’ Dudes and Sharon O’Neill found respect for their own songs. In a time of cultural change, RipItUp and Cammick documented important cultural events such as Bob Marley’s 1979 visit to New Zealand and suburban cultural events like North Shore band The Screaming Meemees playing in a packed suburban hall.
For those who liked their music raw, seedy local venues were the place to worship and the Zwines and Mainstreet mosh-pits were where alienated youth gathered to enjoy the company of kindred-souls. Cammick’s camera captures the tribal audience as well as the sweaty musicians who command the scene. Cammick documented “a good night out” and “another generation of musicians finding their own voice” – cultural pleasure and cultural importance.
Tues 1 – Tues 22 August 2017
Black Asterisk Gallery
10 Ponsonby Rd, Auckland
Preview: Tues 1 August, 6.30pm
Artist Talk: Sat 5 August, 2pm
Top 20 Songs Announced for 2017 APRA Silver Scroll Award
Congratulations to all those nominated! – Close Your Eyes, by Bic Runga and Kody Nielson, (Bic Runga) – Cold Steel, by Troy Kingi and Mara TK – Don’t Worry ‘Bout It, by Kingdon Chapple-Wilson, (Kings) – Green Light, by Ella Yelich-O’Connor, Jack Antonoff, and Joel Little, (Lorde) – Hate Somebody by Nick Johnston, Philip Hadfield, Brent Harris, and Jonathan Lee (Cut Off Your Hands) – Horizon, by Hannah Topp, (Aldous Harding) – Hundred Waters, by Grayson Gilmour and Cory Champion, (Grayson Gilmour) – If Only, by Te Karehana Toi, (Teeks) – I Know Not Where I Stand, by Shayne P Carter – Liability, by Ella Yelich-O’Connor and Jack Antonoff, (Lorde) – Life of the Party, by Chelsea Jade Metcalf and Leroy James Clampitt, (Chelsea Jade) – Little Did She Know, by INF aka Amon McGoram, SPYCC aka Daniel Latu, and SmokeyGotBeatz aka Isaiah Libeau, (SWIDT) – Lucky Girl, by Amelia Murray and Gareth Thomas, (Fazerdaze) – O Heathcote, by James Milne, (Lawrence Arabia) – One and Only, by Brooke Singer, (French For Rabbits) – Rainbow, by Louis Baker and Bradford Ellis, (Louis Baker) – Richard, by Nadia Reid – Sober, by Lydia Cole – Sunday Best, by Seth Haapu – Urutaa by Lewis de Jong, Henry de Jong, Ethan Trembath, (Alien Weaponry)
This Top 20 list was chosen from over 200 entries by a jury of 11 highly qualified and experienced songwriters.
The jury for 2017 was Anji Sami (She’s So Rad/Sami Sisters), Buzz Moller (Voom), Chris van de Geer (Stellar, Bigpop Studios), Devin Abrams (Pacific Heights/Shapeshifter), Godfrey de Grut (Che Fu/The New Loungehead), Jane de Jong (Ruby Frost), Julia Deans, Hollie Fullbrook (Tiny Ruins), Phil Bell (DJ Sir-vere), Rob Ruha, Sandy Mill (SJD/The Bellbirds).
Why Spotify’s Fake Artists Problem is an Epidemic. Literally
The Music Business Worldwide reports: MBW’s revelations about Spotify repeatedly adding ‘fake artists’ to its key playlists have been the talk of the global music business this week.
Yet one nagging question has been raised time and again in response, both by those up in arms about the news and by those who reckon it’s a lot of fuss about nothing: what exactly does Spotify have to gain by feeding its listeners these pseudonymous artists?
Today, MBW can reveal the source behind a swathe of these fictitious performers: Stockholm-based production music company Epidemic Sound.
But we can also confidently, finally, suggest what might be in it for Spotify. The answer was beautifully described to us by one livid record label exec yesterday as “watering down our beer”.
No surprise, he’s British.
On Monday (July 10), MBW discovered that Swedish production duo Andreas Romdhane and Josef Svedlund, better known as Quiz & Larossi, had made the music behind at least eight of the 50+ fake artists. After our story, we were told that their contribution to the practice was small fry compared to another Swedish company: Epidemic Sound.
A big giveaway: Spotify’s ‘related artists’ feature links a handful of composers who are represented by Epidemic to many of the fake acts revealed by MBW in our initial list of 50.
These include: Jeff Bright Jr, Greg Barley, Lo Mimieux, Charlie Key, Amity Cadet, Benny Treskow and Mia Strass. Fictional artists we hadn’t previously noticed, now believed to be pseudonyms of Epidemic’s composers, include Tonie Green, Sigimund, Julius Aston and Grobert.
Before this next bit, we’re going to repeat an important caveat from our previous story: the quality of output recorded by these figures is not under question. They have won rave online reviews from fans – especially classical music fans – desperate to find out who they really are. These are, undoubtedly, fake artists. But their music is obviously written and performed by people. Evidently, very talented people.
Actual, real-life Epidemic composers likely to be behind at least some of the above names include Peter Sandberg, Gavin Luke and Rannar Sillard.
So what’s the problem? It’s two-fold. The first bit, we can be pretty certain of. Like many production houses before it, Epidemic Sound outright buys copyrights from artists. In the company’s own words: “We pay upfront for the tracks, i e. we acquire the financial rights.” Epidemic tells would-be clients that they will receive a “one-time compensation” for each track with “no royalties” because “payment [to artists] is never based on usage”. That explains why the firm further admits: “Regrettably we’re not able to work with members of collecting societies (BMI, ASCAP etc.) at the moment.” Once an artist has signed that contract and taken that check, their music is the property of Epidemic Sound.
We know for a fact that Epidemic-owned songs, under fake artist names, are being added to Spotify playlists with uncommon regularity. As a result, they are collectively racking up hundreds of millions of streams.
We don’t know what Spotify is paying Epidemic Sound for the rights to these songs. However, we have a strong suspicion that it’s considerably less than what Spotify would pay for non-production music – and is either based on a single upfront payment, or a low-cost renting/subscription model.
Again, in Epidemic Sound’s own words: “[Our] fixed fee subscription model give broadcasters, TV networks and online content platforms unlimited access to our library without traditional rights restrictions and limitations.”
One really odd thing. In its ‘fake artists’ denial, Spotify said: “We pay royalties – sound and publishing – for all tracks on Spotify.” Epidemic Sound’s brand tagline? Hand-picked, royalty free music.
Whatever Spotify is paying Epidemic Sound, the latter company has now told MBW: ‘When we distribute our tracks via streaming services we pay the composer upfront for the track and, in addition, we split all revenues from Spotify 50/50 with our composers.’ Epidemic has also confirmed, however, that it owns 100% of the rights to this music.
So, then… “watering down our beer”.
As eloquently explained by analyst Mark Mulligan through here, Spotify licenses music on a ‘service-centric’ basis. In layman’s terms, that means that for each payment period, it pools every stream on its platform – and then pays out based on the total percentage of plays that each artist banks. (This is why, even if you pay $9.99 a month and play nothing but Bill Withers, he will only ever see a sliver of your cash. Your money gets pooled with everyone else’s before being distributed – and today’s biggest hits take the lion’s share.)
So what would happen if Spotify was able to secure a significant discount on a tranche of fake artists – perhaps “hand-picked royalty free” artists – and then promote them so heavily they end up with hundreds of millions of streams? Bingo. It would inevitably reduce the playcount share of every other artist, and every other label, on its service.
“Watering down our beer.” Geddit?
The second part of ‘why this might sound a bit… y’know’ is something that both Spotify and Epidemic Sound strongly deny. What if Spotify directly commissioned Epidemic Sound and/or its clients to create music – which then got a direct free pass on to Spotify’s first-party playlists?
As we’ve demonstrated, it’s a system that would appear to be in Spotify’s economic interests. For a company which has fought tooth and nail to reduce the percentage of its revenue being paid to labels in the past year, it would certainly be a handy method to secure some margin relief by stealth. Especially with playlists like ‘Deep Sleep’, which are designed to be send you into a cosy slumber – and could then continue to play for hours on end as you snooze.
Many indicative factors around this story seem more than a little strange.
For starters, why are the fake artists created by Epidemic clients seemingly waltzing onto Spotify playlists with millions of followers each and every time – when real life artists and labels bemoan the Swedish company’s rigorous pitching and curation process? Almost every single fake artist we’ve identified – and we’re way above 50 now – has attracted millions of streams via playlist inclusion. In fact, we can’t find any fake artists that haven’t beenincluded on Spotify’s first-party playlists.
As one US music publishing industry insider told Variety: “These playlists have been marketed as being highly curated by experts. Doesn’t this put [Spotify’s] entire credibility and integrity in question?”
In addition, a point we’ve made over and over: surely it can’t be coincidence that all of this music is completely exclusive to Spotify? If you were a rights-holder looking to make the most of your recorded music, even under a pseudonym, wouldn’t you want it being played everywhere from Apple Music to iTunes to YouTube to TIDAL? This seems to indicate some form of exclusive relationship between Epidemic and Spotify for these tracks. And that smells like a direct deal.
Funnily enough, that’s another question for Spotify: Didn’t you guys come out and say you didn’t do artist exclusives? Or does that only apply when the artists in question are actually in the land of the living?
Earlier today, MBW contacted Oscar Hoglund, co-founder and CEO at Epidemic Sound. Hoglund, a very successful producer in his own right – confirmed that Epidemic is behind many of the fictitious artist names on Spotify that MBW had identified. We promised him we’d run his statement in full, so here goes.
“It is correct that some of the composers on your list work with Epidemic Sound. The music that they produce was not commissioned by Spotify and these are certainly not ‘fake artists’ – that term is offensive.
“These are professional composers, who earn a living by creating quality music. As is often the case with songwriters and indeed mainstream pop artists, some composers choose to work under their real names whilst some prefer to use pseudonyms.
“Epidemic Sound has been making music for almost ten years. Our tracks generate more than 10 billion views per month on YouTube and Facebook alone. Consequently, we receive many requests for our music to become available via streaming platforms.
“12 months ago we started to distribute some of our music via Spotify. This is a great platform for composers as it increases their income and gives them the recognition they deserve.
“The tracks are of a very high quality, and as a result, are picked up by the curators at Spotify for their playlists. We, and our composers, are proud that the songs feature on these playlists.”
Only one last point to make from us before we put this all to bed.
We got to wondering if there might be any direct relationship between Spotify and Epidemic Sound in existence. Then we found one. A very intriguing one.
To be clear: there is no proof that Spotify, which lost $600m in 2016, could be reducing the percentage of revenue it pays out to content partners by filling popular playlists with fictitiously-named production music.
There is also no proof that its investors simply love the cool, crisp taste of watered down beer. Sourced via Music Business Worldwide.
Spotify Hires AI Music Expert From Sony
Music Business reports: On any given day, this is interesting news. In the context of what we’ve previously reported this week, this is fascinating news.
MBW has learned that Spotify has hired François Pachet – one of the world’s foremost experts on the application of Artificial Intelligence in the world of popular music.
Or in simpler – perhaps scarier? – terms: music written by computers.
Pachet is currently understood to be waiting out his contract as the Director of the Sony Computer Science Laboratory in Paris, where he leads the music research team. He has worked at Sony for 20 years.
In 2012, Pachet oversaw a project which created the first known pop songs composed with AI, as well as launching the first music label dedicated to the professional use of AI for music production.
Earlier this year, Pachet’s Sony team released two pop songs created using AI – Daddy’s Car, in the style of The Beatles, and The Ballad Of Mr Shadow, in the style of American songwriters such as Irving Berlin and Duke Ellington.
Report Claims SoundCloud Only Has Enough Money To Survive Until Fourth Quarter
A tense scene unfolded yesterday as user-generated, music-streaming service SoundCloud held an all-hands meeting to explain to employees why it suddenly had to lay off 40 percent of its staff last week.
Exiting team members wanted to know why they weren’t warned, while those who survived the cuts wanted assurance that the cost reductions would keep the company afloat for the long-run.But as security ominously filed into SoundCloud’s meeting rooms at its offices around the world during the all-hands video conference broadcast from its Berlin headquarters, the startup’s staff discovered they wouldn’t be getting the answers they wanted. Instead, sources at SoundCloud tell TechCrunch that founders Alex Ljung and Eric Wahlforss confessed the layoffs only saved the company enough money to have runway “until Q4” — which begins in just 80 days. [Correction: 80 days, not 50 days]
That seems to conflict with the statement Ljung released alongside the layoffs, which noted that, “With more focus and a need to think about the long term, comes tough decisions.” The company never mentioned how short its cash would still last.
We reached out to Ljung and SoundCloud for this story and PR responded to the request reiterating Ljung blog post. After being presented with the leaked information from the all-hands, SoundCloud PR admitted that, “We are fully funded into Q4,” though it says it’s in talks with potential investors.
But further funding would require faith in SoundCloud that its own staff lacks. When asked about morale of the remaining team, one employee who asked to remain anonymous told TechCrunch “it’s pretty shitty. Pretty somber. I know people who didn’t get the axe are actually quitting. The people saved from this are jumping ship. The morale is really low.”
Another employee from a different office described the all-hands as “a shitshow” and said “I don’t believe that people will stay. The good people at SoundCloud will leave. Eric [Wahlforss] said something about the SoundCloud ‘family,’ and there were laughs. You just fired 173 people of the family, how the fuck are you going to talk about family?” Continue reading via Tech Crunch.
SoundCloud Responds To ‘Extensive Inaccuracies’ In Article Claiming It’s Almost Out Of Money
UPDATED: Two hours after this story published, TechCrunch’s Josh Constine sent Variety a note contesting SoundCloud’s claims. It follows SoundCloud’s statement below.
In a brief statement a rep for SoundCloud took issue with an “extensive number of inaccuracies” in the article, although it only specified and commented on ones regarding funding and layoffs, and went on to say that the company is confident that last week’s layoffs and office closings “put us on our path to profitability and ensure SoundCloud’s long-term viability.
The statement follows in full:
“There are a number of inaccuracies within the TechCrunch article. They seem to stem from a misinterpretation of information by one or two laid off employees during a recent all hands meeting. Due to the extensive number of inaccuracies, we will only comment regarding funding and layoffs. To clarify, SoundCloud is fully funded into the fourth quarter. We continue to be confident the changes made last week put us on our path to profitability and ensure SoundCloud’s long-term viability. In terms of layoffs, it is our policy not to discuss individual employee cases, but we can share we continue to work with all employees who were let go to support them during this transition, with employment and financial assistance.”
Two hours after this article was published, TechCrunch’s Josh Constine, who wrote the article, sent Variety the following response, which reads in full:
“SoundCloud has clumsily attempted to refute our TechCrunch article on its financial and morale problems by issuing a statement to Variety saying our post contains ‘extensive inaccuracies,’ yet its supposed ‘corrections’ simply repeat what we did publish, and refute something we didn’t publish. SoundCloud writes ‘SoundCloud is fully funded into the fourth quarter,’ which is the same quote we already included from its PR. SoundCloud writes ‘we continue to work with all employees who were let go to support them during this transition, with employment and financial assistance,’ but we never said it wouldn’t support these employees, merely that it uprooted people’s lives by hiring them and then laying them off weeks later. TechCrunch stands by its reporting.” Sourced via Variety.
Eventbrite continues APAC Expansions by Opening New Zealand Office
Event ticketing platform Eventbrite continues its expansion in the Asia-Pacific region by officially launching in New Zealand.
It has opened an office in Auckland, which will be led by Eventbrite Australia and New Zealand Marketing Manager Brad McIntyre (pictured, left), a New Zealand native.
Reporting to Phil Silverstone, Australia and New Zealand General Manager (pictured, right), McIntyre will also be hiring local talent for the new office over the next 12 months.
Silverstone said, “We’re incredibly excited to be launching into our second APAC market.
“The New Zealand office deepens our regional expansion and continues our mission of bringing people together through the power of live experiences. New Zealand may have a small population, but Kiwis have a huge appetite for live experiences, making it the perfect market for Eventbrite.”
Research conducted by Eventbrite with CrowdDNA showed that proportionally, New Zealanders attend the most events in the Western world, with 93% of them having attended an event in the past 12 months—more than the US, UK, Europe, and Australia.
“What’s also great is that we have a number of key Australian customers that have been able to expand into the New Zealand market with us, following their successes and business growth using Eventbrite,” said Silverstone. “Brad has a proven track record delivering leading technology products to market with long tenures at Microsoft and Samsung in New Zealand, which adds to his deep understanding of the unique needs of New Zealand entrepreneurs. “It’s his expertise in connecting events with technology that has significantly improved the attendee experience of event organisers’ customers and performance of their businesses.”
Eventbrite has powered more than 70,000 events in New Zealand since inception. Of these, 34,000 were in the last 18 months. More than 13,000 New Zealand event organisers are on the platform. One of them is Rhythm and Vines, a three-day international music festival held in Gisborne on December 29-31 each year. It is the first festival in the world to welcome in the first sunrise of the new year. Since its first event in 2003 to an audience of 1,800, this year it drew 15,000. “Eventbrite has been integral to the success of our festival over the past 18 months,” the festival’s Marketing and Partnerships Manager, Kyle Bell says. “As they formally launch their New Zealand office, we’re excited to partner even more closely with their team to continue to grow the Rhythm and Vines brand.”
In the wake of building an Australia-based customer service team to service the region, Eventbrite plans to set up a similar operation in New Zealand down the track. Sourced via The Music Network.
Stream-Ripping is ‘Overwhelmingly Overshadowing’ Other Forms of Music Piracy
CD-Rs are old hat, MP3s are so last decade. The fastest-rising piracy plague in the U.K. is stream-ripping, a blight “overwhelmingly overshadowing all other illegal music services,” according to a new report.
Stream-ripping grew by more than 140% in the years from 2014 to 2016, when nearly 500,000 occurrences were recorded. And it’s by far the most prevalent form of music piracy in the world’s No. 5-ranked recorded music market, accounting for almost 70% of all music-specific infringements.
If you’re not familiar with stream-ripped files, they can be built with apps, websites, plug-ins and specially-developed software and, once saved, can be played offline on any digital device.
The new report, which dropped last week, is a wake-up call for the industry which, after more than a decade of sharp decline, is enjoying the green-shoots of growth (6% in 2016, the IFPI notes), driven by subscription services like Spotify and Apple Music.
YouTube was identified as the popular source for illegal stream-ripping, according to the publication, entitled, ‘Stream-ripping: How it works and its role in the UK music piracy landscape,’ while SoundCloud, Spotify and Deezer were among the big targets among the licensed platforms. Search engines such as YouTube owner Google were found to direct a “significant proportion” of traffic to the stream-ripping services.
Collection society PRS for Music and the Intellectual Property Office IPO published the report, which surveyed more than 9,000 people. Not surprisingly, the finger of blame is pointed at young people, with 16 to 34 year-olds labelled as chief offenders. Some 57% of respondents said they were aware of stream-ripping enablers, while 15% boasted of using them.
And why are music fans taking this path? The most popular reason was that music was already owned by the user in another format (31%), while some said they wanted to listen to music offline (26%), or on the move (25%); others blamed unaffordability (21%) and feeling that official music content is overpriced (20%). Continue reading via The Industry Observer.
Manzo – Angel On Your Shoulder
This is the first single from the upcoming album ‘Outsider’, to be released on 2 September. ‘Outsider’ is the second studio album by Wellington songwriter and recording artist Manzo, featuring guest vocalists and musicians from the Wellington region.
‘Angel on your shoulder’ introduces Anny de Silva Freitas on lead vocals with a smooth and soulful performance. This was the first song written for the album and is the only ballad – an emotional song of love, loss and hope told with rich piano, strings and drums.
Single to be released 4 August 2017.
Pre-orders for the single are available now via iTunes.
SWIDT Debut Album Available for Pre-Order
“I’m biased, Onehunga bringing the fire”. Six words that become reality on July 28. In less than two weeks, Onehunga-based hip hop collective SWIDT will release their highly-anticipated debut album, Stoneyhunga.
Crafted entirely by in-house super producer SmokeyGotBeatz, and mixed at Neil Finn’s Roundhead Studio, the anticipation SWIDT’s debut album has been growing ever since the boys burst on to the NZ music scene with the breakout track ‘No More Parties In Stoneyhunga’. Onehunga’s favourite sons were immediately embraced as the new voice in NZ hip hop, and the SWIDT movement was born.
Two years later, Stoneyhunga is the culmination of SWIDT’s singular vision and ambition, featuring international collaborations with personnel from TDE and PRO ERA – two of this generation’s hottest and most influential hip hop labels.
The album chronicles the journey of five boys growing up in pre-gentrification, and pre-smartphone Onehunga. A coming-of-age hip hop musical in the tradition of films such as Stand By Me and The Outsiders, Stoneyhunga is a poetic cultural time-capsule of NZ youth between 1999 and 2005.
The album will be preceded by the first official single ‘Player Of The Day’ (to be released on July 21), as well as four instant-grat tracks (available now), all of which have been Top 10 iTunes Hip Hop singles, and two of which have been #1 on the NZ Heatseeker Singles Chart.
Alae Announce New Zealand and Australian Tour
Folk inspired Auckland band alae are ready to take their emotive brand of soulful sound on the road once more with a headlining national New Zealand and Australian tour announced for this August and September.
Taking in some of the most intimate venues in the country, alae’s 6 date NZ tour will kick off in Christchurch and wind its way up to Auckland before the band head across the Tasman to play 4 key dates in Australia thanks to the assistance of an Outward Sound grant.
You can experience Alae at the following venues:
Friday 18 August Christchurch @ Orange Studios
Saturday 19 August Nelson @ Rhythm & Brown
Thursday 24 August Wellington @ Caroline
Friday 25 August Palmerston North @ MUSA
Saturday 26 August Mount Maunganui @ Totara Street
Saturday 2 September Auckland @ Golden Dawn
With the Taite Music Prize acknowledgement in the Best Debut release category under their belt and continued support from NZ on Air, it’s fair to say that the adoration for alae has truly ignited. Latest single Things Change has found a cozy home across commercial radio in NZ, with the video receiving over 150k plays through Facebook alone. Across the ditch, alae will play to Australian audiences for a second time where Things Change has further sparked the support of leading music sites blankgc.com.au and themusic.com.au.
Anticipation is running hot for next single “1 to 3” which releases in August and will be the second single from alae’s forthcoming debut album, due for release in March 2018.
Don’t miss your chance to see alae perform up close and personal in what promises to be a collection of very special gigs this spring.
The Black Seeds Announce Nationwide Tour!
With their brand new, second single ‘Freakin” released to the world last Friday, today The Black Seeds can officially announce what we’ve all been waiting for… This September, the almighty 8-piece will be bringing it to a town near you onboard their nationwide New Zealand album tour.
Known for an electrifying live show, and having just returned from a successful tour of Canada & the US, The Black Seeds are set to play 8 dates across both islands in celebration of their new album, Fabric.
Tour Dates: Thursday 21 September – Raglan, The Raglan Club
Tickets from cosmicticketing.co.nz & from venue, 22 Bow St, Raglan Friday 22 September – Auckland, The Powerstation
Tickets from aaaticketing.co.nz Saturday 23 September – Mt. Maunganui, Totara Street
Tickets from cosmicticketing.co.nz & from venue, 11 Totara St, Mt. Maunganui Wednesday 27 September – Wanaka, Lake Wanaka Centre
Tickets from eventfinda.co.nz & from Base 2, 12 Helwick St, Wanaka Thursday 28 September – Dunedin, Refuel
Tickets from cosmicticketing.co.nz or available from
OUSA main office on campus & Cosmic Dunedin, 355 George Street, Dunedin Friday 29 September – Christchurch, The Bedford Bigtop
Tickets from cosmicticketing.co.nz & available from Cosmic stores Friday 6 October – Wellington, San Fran
Tickets from cosmicticketing.co.nz & available from
Cosmic on Cuba, 97 Cuba St, Wellington Saturday 7 October – Wellington, San Fran
Tickets from cosmicticketing.co.nz & available from
Cosmic on Cuba, 97 Cuba St, Wellington * Supports TBA
Debuted on Friday, check out the brand new single ‘Freakin’, which follows on from the album’s nostalgic summery anthem, ‘Better Days’. “It’s the meaningful, party, pick-me-up track on the album,” says The Black Seeds co-frontman, Barnaby Weir of the new track created at Lee Prebble’s The Surgery.
Going Global Presents…. artist applications are open until July 31 – APPLY NOW!
Head to www.goingglobal.co.nz to apply!
Going Global will be held in Auckland, Sept 1 – 2 – stay tuned for more details and confirmed speakers to be announced next week!