The SXSW Music and Media Conference has
reached its 27th year in Austin, Texas and continuously grows its large
reputation as the biggest and most anticipated convergence of all things music.
According to the people at SXSW,
their spirit is being kept alive by their continued effort to offer compelling
daytime programming and stellar nighttime showcases. As most people familiar
with the SXSW team are aware that at night, SXSW showcases hundreds upon
hundreds of musical acts from around the globe on over one hundred stages in
downtown Austin. In the day time, thousands of conference registrants network
in the halls of the Austin Convention Center on their way to do business deals
in the SXSW Trade Show, sit in on informative panel discussions featuring some
of the industry’s key players, and gain insight from legendary keynote
speakers.
Active conference participants fight to get
their creative content and projects distribution deals. Throughout most of the
festival artists, producers, and filmmakers flock to the halls to network and
gain a distribution platform for their projects that they did not have before. But
something new that has shown up on the radar for SXSW is their take on ticket
distribution. The Austin music conference looks at how third party distributors
are creating new channels for promoters. According to researchers, the era of
exclusive ticketing contracts has not come to an end yet, many venues are
actively seeking new ways to get tickets in front of fans (Venues
Today, 2013). “Distribution is the biggest issue in ticketing that no one
is talking about right now”, says Qcue CEO Barry Kahn. There is a new shift in
sales strategies for ticketing where primary ticketers look at distribution
models. Even big players in the game like Ticketmaster, who was an adversary to
anything that took tickets off their own channels, now sees value in
third-party distribution and have created integrations to quickly move tickets
on and off the platform.
Distribution deals take many forms in today’s world of new
media and diverse content. Brands are seeking out new creative content to reach
their audiences in every way possible. The music festival industry specifically
is taking new leaps with how they deliver their various streams of creative
content. Ultra Music, the top electronic music label and Machinima, the
dominant video entertainment network, have announced their new exciting
partnership this year. Machinima is the number one global video entertainment
network for young males ages 13-34 years old, specializing in gameplay videos,
scripted animated series featuring video game characters, and official game
trailers according to Billboard
Biz. In this new deal, Machinima will exclusively manage ad sales for
Ultra’s YouTube content and share in the ad revenue. The partnership also
requires that the companies collaborate to match up Ultra artists with
Machinima’s videographers, to produce original content that will be distributed
within Machinima’s network of over 6,000 channel partners with over 262 million
viewers a month globally.
“As YouTube is now one of the most powerful platforms
being used to distribute digital media, this partnership with Machinima is a
great step forward for our artists and our music,” said Patrick Moxey,
President of Ultra Music. “Music today is increasingly an audio-visual
experience.” Ultra now produces approximately 100 new music videos per year and
numerous full-length concert experiences (Machinima,
2013). These numbers are amazing given that music festivals can capitalize
on all the fans that cannot physically attend the festivals. With the wave of
distribution deals hitting viral channels like it is, newer and broader
audience reach can be achieved. Currently, Ultra Music is the number one viewed
YouTube channel for electronic music resulting in over 1 million subscribers
with over 2 billion views. Electronic music is still a fresh face amongst the
other music genre veterans, to have a fan base as large as this is
astronomical. Ultra Music has several projects currently in the works including
over 70 videos in production and a video specific A&R representative.