The Shazam Effect - The Atlantic
Geege Schuman stashed this in Music Industry
“We know where a song’s popularity starts, and we can watch it spread,” Titus told me. Take, for example, Lorde, the out-of-nowhere sensation of 2013. Shazam’s engineers can rewind time to trace the international contagion of her first single, “Royals,” watching the pings of Shazam searches spread from New Zealand, her home country, to Nashville (a major music hub, even for noncountry songs), to the American coasts, pinpointing the exact day it peaked in each of nearly 3,000 U.S. cities.
Shazam has become a favorite app of music agents around the country, and in February, the company announced that it would get into the music-making business itself, launching a new imprint under Warner Music Group for artists discovered through the app.
Shazam searches are just one of several new types of data guiding the pop-music business. Concert promoters study Spotify listens to route tours through towns with the most fans, and some artists look for patterns in Pandora streaming to figure out which songs to play at each stop on a tour. In fact, all of our searching, streaming, downloading, and sharing is being used to answer the question the music industry has been asking for a century: What do people want to hear next?
It’s a question that label executives once answered largely by trusting their gut. But data about our preferences have shifted the balance of power, replacing experts’ instincts with the wisdom of the crowd. As a result, labels have gotten much better at understanding what we want to listen to. This is the one silver lining the music industry has found in the digital revolution, which has steadily cut into profits. So it’s clearly good for business—but whether it’s good for music is a lot less certain.
Someone still has to be playing "Royals" for someone else to Shazam it.
Pop music is repetitive because that's what pleases the brains of most people.
The fast food of music. Constant exposure to pop music creates an appetite for it.