On this episode, we talk with Latin music mogul Paris Cabezas. Born and raised in rural Cuba, the MIT Applied Mathematics grad got his start working on the first generation of Yamaha’s digital mixing consoles. This studio engineering stint helped him become the Grammy-nominated producer that he is now, and he's also been able to apply his technical acumen to the various functions of InnerCat Music Group, which Cabezas founded in 2012.

InnerCat handles artist marketing, music distribution, YouTube optimization, and neighboring rights for a range of artists, many of whom are Latin stars like Puerto Rican singer-songwriter Farruko. The music group's artists and network of owned and operated channels garner 630M+ streams per month, 330M video views per month, and 22M subscribers on all networks, and they've been able to pay out more than $7M in royalties to indie artists. Innercat focuses on a data-driven, tech-it-yourself approach to digital assets, and the results speak for themselves.

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Cullah is a Milwaukee, Wisconsin, based independent musician who has released an album every year on his birthday — April 27 — for the past 14 years. For his 30th birthday in 2021, he’ll be releasing his 15th album, ½, as a testament to the fact that he’s released an album every year for half of his life. The son of a classically trained jazz musician and a farm-raised mathematician and computer scientist, “Cullah was brought up with the awareness of the balance between the creative and logical aspects of natural law.” As such, he studied Computer Engineering at Marquette University and Music and Media Technologies at Trinity College Dublin, working briefly as a web developer at a web design firm before turning to music full time. He’s been described as, “One part Jack White, one part Dan Auerbach, and one part Jeff Buckley,” and he was kind enough to carve out some time to discuss music data and music analytics from the artist perspective.

Connect With Cullah Here

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On this episode, we talk to A&R professional and expert in the Latin American music scene, Francisco Toscano, who just released both an English and Spanish version of an article on the Chartmetric blog entitled The Rise of Regional Latin Music, Part 1: Mexican Music Genres or El Ascenso Mundial de la Música Latinoamericana, Parte 1: Música Regional Mexicana. It is a white paper on five of the most popular Mexican genres being streamed today on all of your favorite DSPs.

Read The Rise of Regional Latin Music, Part 1: Mexican Music Genres here: https://blog.chartmetric.com/regional-latin-music-mexican-music-genres/

Ver la versión en español aquí: https://blog.chartmetric.com/es-ascenso-mundial-musica-latinoamericana-musica-regional-mexicana/

Francisco is an A&R Researcher for a major label, based in and from the great city of Ciudad de México, and has a background in financial services. He holds an MBA from ESADE, located in Barcelona, Spain, and a Master’s in Music Business from New York University. You can connect with him on LinkedIn or Twitter.

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Today’s guest is Jacob Fowler, Chief Technology Officer at The Orchard. The company is “a pioneering music dis­tri­b­u­tion company and top-ranked video network … [with] local reps in 45 markets. From digital retailers and physical stores to performance rights societies, [The Orchard’s] partnerships help amplify your reach and revenue across multiple business verticals.”

Graduating from the University of Michigan with a degree in Political Science & Southeast Asian studies, Fowler first spent three years at 2U, a publicly-traded educational tech company. Moving from a role in Admissions to Business Analyst, it was then his first stint as Product Manager that transitioned him to The Orchard in 2016. The avid Red Sox fan then rapidly worked his way up the chain from Director of Product to SVP for Engineering and Product and then to his current role as CTO, starting in February 2020.

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Priya is an Indian citizen born in the Philippines, raised in Singapore, and educated in American schools. Just four years after graduating from Boston University, Priya worked her way up from intern to Label Manager at Warp Records, where she ran the show for another four years. As soon as she left Warp in 2011, she moved back to Singapore and started her own booking agency and artist consultancy called Feedback Asia, where she worked directly with talent like CHVRCHES, Beach House, Yuna, Bicep, Mansionair, and Lauv to help them find live opportunities in Asia. Currently, Priya is both Vice President and also CEO — of two different companies. As VP of South Korea and Southeast Asia at The Orchard, she manages teams all across Asia, but somehow, she still also manages to find time to run her own company, Gig Life Pro, a music industry networking and community resource consultancy for the Asia-Pacific region. Suffice it to say, Priya knows the music markets in Asia inside and out — not to mention the qualities it takes to be a leader in the music industry, no matter what market you’re in.

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At How Music Charts, we try to showcase those pushing the edge of music and data, and today we talk with Joel T. Jordan, Founder and President at Synchtank. Headquartered in London with offices in New York and Los Angeles, Synchtank offers a range of cloud-based SaaS solutions for managing digital entertainment assets, intellectual property, metadata and royalties.

Getting his start in the music industry at ripe age of 13, Jordan started one of the hardcore punk scene’s seminal labels, Watermark Records, with his brother Jason in 1991. It was there in New Jersey where the visually-oriented Jordan began his career as an Art Director, which eventually led him to co-found the creative design film Earthprogram in New York City, where he served as Lead Designer and Creative Director from 1996 to 2008.

It was then when Jordan founded Synchtank, where, as a 2018 Pop Disciple interview describes, Synchtank “serves over 150 high profile clients including Disney Music, 20th Century Fox, Reservoir Media, Spirit Music Group, Concord Music, BT Sport, Red Bull Media House, Primary Wave, and peermusic.”

• Check out music licensing software platform Synchtank here.
• Check out Earth Program's homepage here. 
• Check out Earth Program's QnAnR podcast here.

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At How Music Charts, we try to showcase those pushing the edge of music and data, and today we talk with Joel T. Jordan, Founder and President at Synchtank. Headquartered in London with offices in New York and Los Angeles, Synchtank offers a range of cloud-based SaaS solutions for managing digital entertainment assets, intellectual property, metadata and royalties.

Getting his start in the music industry at ripe age of 13, Jordan started one of the hardcore punk scene’s seminal labels, Watermark Records, with his brother Jason in 1991. It was there in New Jersey where the visually-oriented Jordan began his career as an Art Director, which eventually led him to co-found the creative design film Earthprogram in New York City, where he served as Lead Designer and Creative Director from 1996 to 2008.

It was then when Jordan founded Synchtank, where, as a 2018 Pop Disciple interview describes, Synchtank “serves over 150 high profile clients including Disney Music, 20th Century Fox, Reservoir Media, Spirit Music Group, Concord Music, BT Sport, Red Bull Media House, Primary Wave, and peermusic.”

Check out music licensing software plaform Synchtank here.

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If you haven’t heard the news, we’ve recently become the first third-party music analytics company to host Pandora data publicly, which includes stream counts, monthly listeners, and station adds for hundreds of thousands of artists. So, we’re especially excited about our guests today: Dan Wissinger and Jay Troop. Dan is currently a Senior Product Manager at Pandora, where he spearheads the Next Big Sound and AMP product teams, and Jay is a Senior Analyst for Next Big Sound and AMP. He’s also responsible for Artist & Industry Insights at Pandora writ large. On this episode, we introduce you to Dan, Jay, and Pandora; explain why Pandora matters to the music industry and to artists’ careers; and give you some strategies for making sense of your Pandora data. Speaking of which, if you’re not familiar with Next Big Sound, it’s the OG in music analytics, so we highly suggest checking it out as soon as you can, and the same goes for AMP, which is an artist’s best friend on Pandora.

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SEE THE 2020 UK MUSIC DIVERSITY REPORT HERE: https://www.ukmusic.org/equality-diversity/uk-music-diversity-taskforce-workforce-diversity-survey/2020-report/

At How Music Charts, we try to bring a new perspective to the music business, and today that perspective is from me! I’m Christine Osazuwa, Global Marketing Director of Data & Insights at Warner Music Group. I was also the first guest on this podcast back in December 2019, which at this point, seems about 100 years ago.

In honor of UK Black History Month, I’ve taken over today’s episode with a different take on music data! In addition to my day job, I am also a Co-Chair of Warner Music Group UK’s BAME employee resource group, The Link. As a Nigerian-American working in the UK music industry, I am committed to a diverse and equitable music business and the power that data can bring to any conversation. Given that context, I’m thrilled to introduce today’s guests: Paulette Long OBE and Ammo Talwar MBE.

Paulette has served as Deputy Chair for the UK Music Diversity Taskforce since 2016, while Ammo has served as Chair since 2019. With decades of music industry experience between Paulette and Ammo, spanning publishing, arts education, marketing, PR, artist management, and even running record shops, they have both been recognized under the Most Excellent Order of the British Empire by the Queen for their enduring contributions to the UK’s cultural industries. 

While we could speak for hours about their accomplishments, today we’ll focus on their latest one: the 2020 UK Music Diversity Report, which, by the time you hear this, will be available online.

In addition to diving into the report’s data, we’ll use our time together to discuss the importance of diversity, representation & accountability to progress the industry and create the culture we want to see within our workplaces and around the world.

Disclaimer: All opinions and views expressed by the guests and host are theirs alone, and do not in any way constitute the opinions or views of any company they work for or have been associated with.

Connect With the Host & Guests
Host: https://www.linkedin.com/in/christineosazuwa/
Guest: https://www.linkedin.com/in/paulettelonguk/
Guest: https://www.linkedin.com/in/ammo-talwar-mbe-217b2612/

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Over the past few years, Cherie has been a regular contributor to multiple major music business publications, including Forbes, Billboard, NPR Music, Rolling Stone, and many more. While she still has her own column on music and tech for Music Business Worldwide, in early 2019, Cherie also started Water & Music, her own membership community where she uses Patreon, Discord and a weekly newsletter to keep her 8K+ subscribers and 700+ Patrons up to date on the latest innovations in the music industry.

With a pre-college Juilliard diploma in Piano Performance in one hand, and a Harvard BA in Statistics in the other, maybe it’s no wonder that Cherie decided to carve out her career at the intersection of music, data, and technology. Before establishing her writing as a popular must-read, Cherie held internships at Interscope Records, Jamplify, Forbes, and Ticketmaster, alongside even more writing and researching for The Harvard Crimson, Harvard Business School, and NYU. 

In 2017, she became the youngest nominee and winner of the international music business journalist of the year award at the annual Reeperbahn Festival in Hamburg, Germany. Cherie has also been featured as a keynote speaker, moderator and panelist in many high-profile conferences including MIDEM, Primavera Sound, SXSW, IMS Ibiza, DIY Musician Conference, and many more.

Subscribe to Cherie Hu's Water & Music Patreon.

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