In the latest Trapital podcast, Dan Runcie talks to MIDiA Research’s Tati Cirisano about short form video and the three-sided battleground being fought between TikTok, YouTube Shorts, and Instagram Reels. Questions asked were which company added the most value - to artists and creators, to the music industry, and to its parent company. The conclusions: TikTok is the most valuable to artists and creators given its massive reach and cultural cache. YouTube Shorts is the one that’s most valuable to music since strong agreements are in place, and YouTube is proud of the billions it pays to the industry. Reels is the most valuable for its parent company.

Nigerian afrobeats megastar Burna Boy was Spotify's most-streamed African artist globally in 2022. He sold out Madison Square Garden in 2022, and has also performed at halftime at the NBA All-Star Game. The Burna Boy will also become the first African artist to headline a show at London Stadium, and is about to perform at Coachella. Trapital's Dan Runcie looks back at Burna Boy's decade-long career and his path to stardom.

Out of the pandemic and the shutdown, Trapital's Dan Runcie looks back at the ideas and trends that have started back at the height of the isolation age. He believes that some are destined to never achieve substantial success, such as Clubhouse, Bored Ape Yacht Club, artists immersed in digital environments, Community... A few might have a future - DEI initiatives that lead to real change, Verzuz, NFTs, while some are certain to stay - music rights sales and acquisitions, TikTok and short-form video, high prices for live entertainment...

Trapital's Dan Runcie looks into the Taylor Swift - Ticketmaster situation in his latest memo, and points out to the decision that most artists need to make:

• "If artists keep ticket prices lower, then more of their superfans who aren’t as rich can attend. The drawbacks are that lower revenue will put pressure on the artist to keep production costs low. That means that the artist’s show may not keep up with peer artists who still have lavish productions and may make more revenue as a result and capture more headlines.

• Alternatively, if artists keep prices higher to match demand, then the artist can maximize their profit per show, spend less time on the road, earn more money to put toward other interests. But this creates a concert experience for the fans most willing to pay, not necessarily the most passionate fans".

Very interesting Trapital memo and podcast about the differences between Spotify and YouTube, and how artists can take advance of each service. One of the points: "Spotify is a place where you can monetize scale, but you can’t monetize niche. YouTube is an ecosystem where you can monetize both".

In 2018, hip-hop became the U.S. most popular genre of music. In 2022, hip-hop is still on top, and its revenues
are still growing, but after nearly a decade of market share growth, hip-hop’s share of total revenue has declined. Trapital’s first-ever culture report found three key drivers behind the trend:

1. Streaming’s continued growth

2. Early-mover advantages don’t last

3. The end of bundles and the limited vinyl supply

Dan Runcie talks to New York Times music reporter Joe Coscarelli about his new book, 'Rap Capital', in the latest Trapital's podcast. The key, Coscarelli believes, is Atlanta rappers' adoption of modern tech: “I love to see when art lines up with the technology of the moment. These Atlanta rappers were in the perfect place at the perfect time to take advantage of that explosion". Also, the reporter sees broader liberties: “Artists have found freedom…your audience is going to find you. You can still have as much of a footprint but not in the same everybody-knows-the-same-10-people way. It’s almost healthier for some of these artists to say ‘I’ve seen what happens on the fame side and I don’t want that part. I just want to make my music and play for my fans.’ That’s become more and more of a possibility without having to play the game with the gatekeepers”.

Since 1996, the so-called “Big Four” Grammy Awards - Album of The Year, Record of the Year, Song of the Year, and Best New Artist - have been awarded to 67 recipients. Of these, only five are hip-hop: Lauryn Hill (AOTY, Best New Artist); OutKast (AOTY); Chance The Rapper (Best New Artist); Childish Gambino (SOTY, ROTY); and Megan Thee Stallion (Best New Artist). The Grammy Awards’ holy trifecta – “AOTY”, “ROTY”, and “SOTY” – has eluded him despite nine nominations. How much more impact would Kendrick have had with one – let alone several – well-deserved Big Four win(s)? - Trapital asks in the latest newsletter.

Trapitals's Dan Runcie looks into the lockdown past and thinks about metaverse future in his latest post: "As exciting as the metaverse, NFTs, and web3 are, it heightens the desire for artists to be on every medium and platform possible. As entertainment becomes more and more fragmented, it takes more effort for artists to be everywhere, even the superstars... Two of the biggest opportunities for music in the metaverse are letting artists and fans create their own worlds, and getting more women artists and fans involved".