Latest / The Price of Music / James Blake lifts the lid on the music industry, The Libertines as holograms

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James Blake lifts the lid on the music industry, The Libertines as holograms · The Price of Music

0:43
Yeah, sure thing. Hey, you sold that car yet?
0:46
Yeah, sold it to Carvana. Oh, I thought you were selling
0:50
to that guy. The guy who wanted to pay me in
0:52
foreign currency, no interest, over 36 months, yeah, no.
0:58
Carvana gave me an offer in minutes, picked it up and paid
1:00
me on the spot. It was so convenient.
1:03
Just like that, Yeah, no hassle. None.
1:06
That is super convenient. Sell your car to Carvana and
1:09
swap hassle for convenience. Pick up fees may apply.
1:19
Hello, hello and welcome to The Price of Music, the show that
1:22
looks at the money behind the music industry with me, Steve
1:25
Lamac and Music Allies head of insight Stuart Dredge.
1:28
How are you, Stuart? I'm very good.
1:30
I'm good. How are you?
1:31
Yeah, I'm, I'm not too bad, by the sound of things.
1:34
You've been incredibly busy this week because one of one of
1:36
Stuart's emails, dear listeners, I think was at the end of last
1:40
week, suggested that someone had just turned up at his house and
1:43
tipped a skip full of news stories over his head.
1:47
And that you were emerging from beneath, beneath the pile.
1:50
Like, you know, like a cartoon character crawling out of the
1:53
rubble of a collapsed building. That's like, do I, do I take it?
1:57
Do I take it? There's there's quite a lot to
1:59
discuss this week. And that's quite a lot going on.
2:02
Yeah, I think so. I mean, like, there's no real
2:04
quiet period for music news anymore, I think.
2:07
Like when there's a quiet period for releases, everyone starts
2:09
announcing their business stuff, right?
2:11
So yeah, it never sleeps. Where should we?
2:14
So let's start with this. The Featured Artist Coalition
2:17
has established a UK Artist Touring fund to help channel
2:22
money to musicians who are finding it difficult to finance
2:27
going on tour. Shall I take this one because
2:29
this is. This is something which we've
2:31
touched on a few Times Now, including last week.
2:33
In fact, I mentioned that Kate Nash had been talking about this
2:37
very subject at the launch of the Music Venue Trust annual
2:40
reports. The fact that touring is, is
2:43
increasingly is increasingly expensive and the costs now are
2:47
preventing people from, well, a, embarking on a proper length of
2:52
tours. So the length of tours is, I
2:55
mean, it's half what it used to be 20 or 30 years ago.
2:58
And B, it's sometimes it's often preventing people from touring
3:02
at all. In fact, in the announcement,
3:05
reading the small print in the announcement of this new fund,
3:08
there were some figures quoted where this is it.
3:12
It says in a recent survey of 1 1/2 thousand independent artists
3:17
conducted by Ditto Music, 84% of UK based respondents said they
3:24
could not currently afford to tour. 84% is a much bigger
3:30
figure than even I feared. I mean, that is a frightening
3:34
statistic, isn't it? It is, it is.
3:36
And like, like you say, it's interesting because I thought
3:39
this was an interesting announcement because it did
3:40
focus back on to artists. So I think we hear a lot about
3:43
venues, don't we? And venues closing.
3:44
And that's, that's very important.
3:46
But we always talk about the circular thing of like artists
3:48
can't tour and this thing and this.
3:50
Yeah, it really, it was weird because it felt like a positive
3:52
story. There's this fund, it's going to
3:54
help artists. But I saw those tattoos too and
3:55
was like, goodness, it really is a bigger, a bigger crisis.
3:59
I think we can call it a quite like the words overused by
4:01
journalists, isn't it? But I think we can call this a
4:03
crisis now. So in response to all this, then
4:06
the Featured Artist Coalition in partnership with the MMS, that's
4:10
the Music Managers Forum, and so the Musicians Union, they've got
4:14
together to form this new fund. This of course follows the
4:18
recent launch of the Live Trust which we've spoken about before.
4:22
The Live Trust, which is the Trust which has been set up to
4:25
receive voluntary contribution to a pound of tickets from
4:29
stadium and arena gigs. So when an artist, in
4:32
conjunction with their promoter and agent, decides to give 1 LB
4:36
a ticket from their shows to support grassroots music, if
4:40
they if they choose to, that pound goes into the Live Trust
4:44
and then the Trust will distribute it to organisations
4:49
representing, It's like venues, but also artists and other
4:53
people involved in putting grassroots gigs on.
4:56
The latest artist, by the way, to sign up to give 1 LB a ticket
5:00
from their shows to the Trust. You see this Bowling For Soup,
5:04
bless them. We're giving a pound a ticket
5:06
from their tour. And I believe that it's also, I
5:11
think this is now being confirmed.
5:13
The other artist who's going to commit a pound a ticket from her
5:18
dates? Diana Ross.
5:21
Wow, that's. Your face.
5:24
Diana Ross bowling for super. Was it Lynyrd Skynyrd last?
5:26
Week and Lynyrd Skynyrd. We're building a festival line
5:29
up here, aren't we? Yeah.
5:29
I'm not sure what festival but. We await to see who else
5:33
proffers up their support. I'm hoping obviously some
5:37
British artists who may be about to announce Geeks, big geeks
5:43
might also see fit to give up a pound for grassroots in the
5:48
meantime. I mean, I didn't have time to
5:50
check this, so I don't know with regards to this fund, I don't
5:53
know whether you need to be a member of the FAC or MU to be
5:56
able to apply for money from the new funds.
5:59
But we will follow that up and let you know just in case we
6:02
have musicians listening who might want to apply, right?
6:06
Here's one for you. I think Stuart and you joint
6:08
venture between Warner Brothers, Discovery and Cutting Edge Group
6:12
has been described as one of the most valuable music rights deals
6:17
ever. Which was is interesting because
6:21
it's not for the music you might expect.
6:25
So it's from Warner Bros Discovery, who obviously a big
6:28
studio making film, films and TV shows.
6:31
And this is for their catalogue of music, which is basically
6:34
film and TV music. So themes and cues and
6:37
incidental music. And it ranges from Like Friends
6:40
and Game of Thrones to The Exorcist and Blade Runner.
6:44
Oh, really? Yeah, which is it's kind of kind
6:46
of like a whole array of clustering, which which mean,
6:49
which meant a combination of this story and watching the old
6:52
Top of the Pops reruns last week when I had the bloody Friends
6:54
theme in my internal jukebox for about a full day and a half,
6:59
which hasn't happened for a while because.
7:01
But yeah, so this this is like their library of stuff.
7:03
And they're they're partnering with this company called Cutting
7:05
Edge Group, which is like a media rights investment firm.
7:07
So their whole business is investing in media rights and
7:11
yet they only described it. They said it was by value one of
7:13
the largest music rights deals ever, ever transacted and didn't
7:17
say a figure. But then the Financial Times
7:19
reported on it, obviously briefed by the companies and
7:21
said it's worth more than $1 billion really, which is 400
7:26
more than 400,000 kind of compositions and song cues.
7:30
And it's kind of, it's kind of complicated as well because some
7:32
of this music is already administered by music
7:36
publishers, so Universal and Sony, and they'll carry on doing
7:39
that. So in a sense, it's business as
7:41
usual for all these songs. They'll be kind of used, They'll
7:43
generate money when they're played on TV or played on the
7:45
radio or anywhere else. But clearly these companies
7:50
think they can make more money from them by exploiting them is
7:54
the word, which always makes me kind of grimace a bit because it
7:57
sounds like a bad thing. But yeah.
7:59
So $1 billion, which I Yeah. I mean, I'm trying to think of
8:02
the the previous deals for individual musicians catalogues,
8:05
which have generally been the large ones, are a few $100
8:07
million, aren't they? So it probably is right now.
8:10
It's. Yeah.
8:11
So who, who thought, like TV and film music would be the most
8:14
expensive ahead of Bob Dylan, Springsteen and all the rest?
8:17
Yeah. Next now what actually, this one
8:21
we're returning to musician friends this who might find this
8:25
since I mean, I found it interesting this this post
8:28
because it's it digs further into part of the conversation I
8:32
had with Simon Raymond on this podcast the other week when I
8:35
asked the question why, why do artists sign two major labels
8:41
who who then take all their recording rights forever and
8:44
ever and also stands to make the bulk of the profit from a bands
8:48
or an artist burgeoning Korea? Well, here following on for
8:52
that, here's someone who has disentangled himself from the
8:55
majors and he's now on the war path but asking similar
8:59
questions. You may have seen this James
9:02
Blake last week posted a piece which on Instagram criticizing
9:07
the big labels and offering up an alternative for musicians to
9:11
help them build their profile independently with a team of
9:17
people around them rather than just signing to a major label
9:20
who give you the team. Stuart, you had a look at this.
9:25
I mean this statement it was quite long, but given give us
9:28
the gist of what James has been saying.
9:30
Yeah, so he had a few jabs at majors before, so that the major
9:33
day was like a package holiday. So none of it's aimed at kind of
9:36
what you want and your needs. Yeah, that is a great analogy,
9:39
isn't it? It's a you're signing up to a
9:41
package, package holiday, but but one which yeah, you gives
9:46
you loads of things you probably don't need and doesn't give you
9:49
the things that you actually want in some cases.
9:51
That's it. And he said, you know you signed
9:53
the deal because you like the A&R brackets.
9:55
Who's basing everything off stats these days?
9:56
Not taste and the artist roster. And then they'll say make more
10:00
Tik Toks, which is and then he said he criticised the money and
10:04
the kind of the amount of money. And he suggested the majors have
10:06
prioritised temporary virality over art for too long.
10:09
And that's why the model is crumbling.
10:11
So this is kind of coming back to some of his previous
10:13
criticisms. It's I think it's focused on
10:15
major labels for on independent labels.
10:17
So he's very much seen the majors.
10:19
But yeah, where it's interesting, I think is like, I
10:22
think since I've been writing about this industry, there's
10:24
been a kind of you don't need a label anymore sort of discourse.
10:28
Like I remember Amanda Palmer did a Kickstarter thing back in
10:31
the day. I don't know if you remember
10:32
that. And everyone said, right, you
10:33
don't need a label, you just need Kickstarter.
10:36
And the whole, the always the, the count of that has been, you
10:39
may not need a label, but you need marketing and you need
10:43
people to analyse data and you need people to kind of help with
10:45
the nuts and bolts of putting music out.
10:47
Like you need a team. And so it always has been.
10:49
If you don't sign to a label, how do you build that team
10:51
around you? And that's, that can be tough, I
10:53
think for artists. And that's why I think so many
10:55
still sign with the label because it's it's difficult to
11:00
build the same kind of team. But here to to assemble people
11:03
around you, you've got the knowledge because you can't, you
11:06
don't have if you're an artist. And particularly I sometimes
11:08
think artists shouldn't be bothered.
11:11
They shouldn't have to think about marketing themselves and
11:15
knowing where to get the record pressed, you know, to give you
11:18
the basic value for money and then how much it costs to ship
11:22
and all these things. Just get on with writing songs.
11:25
So you do need an artist needs or or get a manager and then a
11:29
manager can deal with it. But even the manager's not going
11:31
to know all all the different intricacies of how to get a
11:36
record out there and how to move up to the next level.
11:39
So you need, yes, you do need people who know something.
11:42
And this is what James is sort of agreeing with, but saying why
11:47
not build? Why not build a team around you,
11:50
but not one which who is basically made-up of people who
11:53
are just who are paid to work for the label?
11:56
Get some people who are working for you.
11:58
That's it. And I think one of the things
11:59
that's happened in recent years, and I think it's going to be
12:02
enhanced by the recent layoffs from the major label world, is
12:05
there are a bunch of companies out there now.
12:06
There are companies who are marketing agencies.
12:08
There are companies who know about physical and merch.
12:11
Like there are a whole bunch of small independent companies who
12:14
deal with all these different elements like so.
12:18
And what he's done is James Blake has found this, this, it's
12:21
like an online service called Indify, and that is essentially.
12:25
It brings just say that, just say that again, but indify,
12:29
indify, OK, indify. Which stands like a sort of, I
12:34
don't know, Mr. Ben style transformation where, you know,
12:36
you put Dua Lipa into it and she comes out as a Camden, Camden
12:40
indie pad. But so it's like basically it's
12:43
fun where you go on there and it it gathers, it collects together
12:46
all the independent music services, whether that's people
12:49
who work on merch or analytics or everything you might need.
12:52
And as an artist, you can go on there, you can find people you
12:55
might want to work with and then you can kind of figure out your
12:58
deal with them, figure out your relationship, sign your
13:01
contract. So it's kind of a it's like a
13:02
connecting, a connecting place to kind of help you build that
13:06
team around you. And he sort of, he talked about
13:08
it and said, yeah, and I've got this company called Good Boy who
13:11
are doing funding and strategy for me, a company called Stella
13:14
Trigger, who doing marketing company called Crowns and Owls.
13:17
I love these names who are doing creative and a company called
13:20
Silo who are doing a sync. So he's kind of, he's built this
13:23
team and he's saying I did this and this this company.
13:26
Good boy who I didn't know much about before.
13:28
He talked about how he's released 2 songs with them and
13:31
they've both recouped before they even came out and have
13:33
since recouped twice over, which is that phrase where you know
13:36
you've you've made your money back for them and now it's all
13:38
kind of profit for you. So.
13:41
It is. I think it's partly sorry, it's
13:43
partly partly based on did I do. I remember reading somewhere in
13:48
this post that the deals are basically at worst, the 5050
13:53
split, which, you know, you compare to a major record label
13:57
deal, which I think he claims is still basically 8020.
14:01
So you get 20% and the label takes 80.
14:04
So for a start, you're you're going to earn more, which means
14:09
you'll be able to pay back the money essentially loaned or the
14:12
money you've paid them to do their job.
14:14
You're going to recoup, as you say, quicker than you would when
14:18
you're only getting 20% of you. Yeah.
14:20
And it's interesting to me because I think James Blake is
14:22
doing all this in public. And I think we talked last year
14:24
about how he'd announced he was working with this company called
14:26
Vault to do like a super fan subscription.
14:28
There's a company called B said you'd look.
14:30
And so he's doing this in public and saying, here's what I'm
14:32
doing. And then in the Instagram post
14:36
here, he said this on there's, it's interesting because Jeff
14:38
Barrow of kind of Portishead and big turned up in the comments
14:41
asking a question about how would this work with new or less
14:44
known artists? Because you have a fan base,
14:46
like quite polite question. And there's a whole discussion
14:48
with that where the guy from Good boy chips in.
14:52
And so I think for any artist thinking about this stuff, it's
14:55
not just that James Becker saying, do what I've done.
14:57
He's kind of starting this conversation and people are
15:00
talking around and it is, it's really interesting.
15:04
Do you? Do we know to to sign up and use
15:08
Indy 5? Do do you have to is there a
15:10
cost, an upfront cost for the platform?
15:13
I don't think. I don't think I looked.
15:15
I so my assumption would be they would get some kind of a
15:18
Commission on or you can actually you can as an artist,
15:21
you can. So an artist you can sign up for
15:23
free as a partner, as one of those companies that artists can
15:26
connect with you pay $750 a month.
15:30
So they're so they're charging the companies who are hoping to
15:32
get artists working with them. Right, got it.
15:35
So it's such free for the artist.
15:37
So and I guess the what you're looking at because it gives you
15:43
a kind of league table, doesn't it of how much impact these
15:48
companies have had on artist streams and stuff.
15:50
So I guess that's what you're basing your choice on or, or
15:56
reputationally, I guess some companies will have a better
16:01
word of mouth support. But the the only thing was when
16:07
I looked through the list, I thought, I don't know any of
16:08
these people. How, how on earth do you pick?
16:11
But I think Blake's argument was you can see how much impact
16:15
they've had on previous projects.
16:17
Base it on that. And that's it I think.
16:19
And it's it's one of those things where in fact, we've
16:21
talked to him before about how being an artist can be quite an
16:24
isolating experience, especially if you can't go on tour.
16:26
I've been talking about and so you maybe don't have as much
16:29
contact with artists saying who are you working with?
16:31
Who's good? And so seeing that, I guess we
16:34
kept. So yeah, it's interesting.
16:35
It's like it is. And going back to that Amanda
16:37
Palmer example, everyone got the ring end of the stick and said
16:39
do exactly what she's done. And that's the past.
16:42
But I think with James Blake, it's saying he's he's just
16:45
explaining what he's done. But it's it's opening up
16:47
people's minds to well, I could do something similar to that.
16:50
I could look at some of these things, but I don't have to
16:52
follow this. It's not a template to follow.
16:53
It's more, you know, encouragement, I suppose, if you
16:56
are thinking of working. I mean, the other thing I think
16:58
is we, we had a few major labels at our conference recently
17:00
musical and this is all having an effect on them.
17:04
They're adapting and they're evolving down to the kind of
17:07
deals they're doing, their focus on their kind of individual.
17:09
So I do think the other positive thing here is that it's going to
17:13
change the way major labels operate.
17:15
So I think the, the stuff that James Blake complaints about, I
17:17
think it is changing. And part of the reason it's
17:20
changing is because of these, the existence of an alternative
17:23
approach, you know, so I think it's not that you have to,
17:27
everyone's going to ditch a major label and they'll die.
17:29
I think it's going to, it's going to kind of, they're all
17:31
evolving to figure out, right. Independent artists are probably
17:35
the future. Even major label artists might
17:38
want to be independent in some ways with like only the masters
17:41
and so on. So yeah, it's changed, but it's,
17:43
it's, it's good. It's I think again, the fact
17:45
that he's he's laying it out in public for everyone to comment
17:48
on and ask questions about is really good.
17:53
Wow. Last year, you may remember,
18:46
there was an AI startup, I think, I think it was a startup
18:51
company, which lent you some software and you made us some
18:58
music. I mean appalling music, but
19:01
music none. And I could even use put
19:04
inverted commas around the music.
19:06
But but you did have an effort and it did sound like quite a
19:09
lot of fun playing around with the technology.
19:12
This, Dear listeners, this happened again as another AI
19:16
music service has opened its doors to anyone who wants a
19:21
helping hand making music. Tell us about this.
19:25
Yeah, I think we're going to see quite a few of these launched
19:27
this year because there's a whole flurry of development.
19:30
But yeah, it's a company called Refusion, which has been around
19:32
for a little while. It's got The Chainsmokers as its
19:35
advisors and investors, the the electronic music duo who've
19:39
actually become quietly, they're quite big in start up
19:42
investments. They they've got their own
19:43
venture capital company, right? Yeah.
19:47
I mean, this is, I think this is that if you've got more loads of
19:49
money from from playing Las Vegas and so on, yeah, there's a
19:53
lot of dance apps who are kind of becoming investors.
19:56
It's it's kind of, it seems to be the the side hustle of choice
19:58
at the moment. Oh, right.
19:59
OK. All right.
20:00
But yeah, so revision, it's got this thing and they they've got
20:02
this thing called Fuzz, which is a terrible name for for thing.
20:05
But this is their a, a model and you can basically, it's like a
20:07
lot of other things I've tested. You can go in and say, right, I
20:10
want a song about XY and ZI want to be in these genres, these
20:14
moods. You kind of basically find
20:16
different keywords to put in and it will write you a song and it
20:19
will it will produce it. It's free at the moment.
20:23
Like a lot of these things, they come out and they're free.
20:25
And the idea is they'll make money later by charging your
20:28
subscription for extra features, maybe, and so on.
20:31
And yeah, and I, I used it. I sent you a song.
20:34
You did, you did send us, you did send us a song.
20:37
So I'm interested before I pass judgment.
20:40
I mean, what did you input into the software that came out with
20:45
the music that you you sent us? Yeah, so I was thinking about
20:50
what we both how we both have grown up and I I tried to make a
20:54
Brit pop song. So so the prompts I used and
20:57
this is kind of this is one this is part of the fun of of using
21:00
these tools. I think as a non musician is the
21:02
the creativity is kind of figuring out what what were the
21:05
words be they recognise. So the ones it recognised, Brit
21:08
pop, British 1990s, British accent, guitars and drums, bass
21:13
guitar, brass section. Because that was, that really
21:16
was the tale in the Brit part, wasn't it?
21:18
Everyone on the brass section, upbeat, catchy handclaps,
21:21
melodic, optimistic male vocals, London whistling melody.
21:26
I was playing with male, I was playing with male.
21:28
I did do one with female vocals too.
21:29
I was playing with these ideas. So I wasn't just like I must
21:31
have men singing. But that was the one that got
21:33
through and whistling melody because that that there was.
21:36
They need more of that thing. And and did you write the
21:39
lyrics? I just, I kind of wrote some, I
21:43
dashed off some lyrics about about our podcast.
21:46
They weren't good. And it sounded almost exactly
21:50
like a 1979 powerpop record from California.
22:20
It it didn't succeed in being either British sounding or Brit
22:25
pop. And but to be fair, it was a
22:28
very, you know, it's a decent it was a decent effort at a power
22:32
pop song from 1979 from California or somewhere.
22:36
It reminded me of his one for the teenagers.
22:38
It reminded me a little of a band called the Rubinos.
22:42
But it was, yeah, it was pretty good.
22:46
And then just at the end of the clip, where did those terrible
22:51
keyboards come from, which sounded like Black Pulpier 1974,
22:58
where there's nothing in your description or the, the, the
23:02
words, the instructions that you've put in that says bring me
23:06
a very cheap sounding glam rock keyboard.
23:09
Last seen on Top of the Pops in Yeah in late 74.
23:13
Again, it's do you know, it's one of the things and I say it's
23:16
like, so I sort of I always feel like I need to zoom out and say,
23:19
look, this stuff is I'm I'm flippant and I talk about it
23:23
with entertainment, but there's lots of serious stuff.
23:25
I know musicians are worried about some of this stuff, how
23:27
it's trained. So, but it is one of the fun
23:31
things about using these tools is they're very, they feel very
23:34
random, like you, you can sometimes get some exactly what
23:37
you were asking for. Yeah.
23:39
But quite often they'll spin off and it's almost like you've got,
23:42
it's almost like you're the producer in a studio and you've
23:44
got a band of musicians who are absolutely not going to do
23:46
anything you say. So you'll be like, can you do
23:49
this? And they'll be like, no, we're
23:50
playing a poker, mate, sorry. So.
23:52
And, and what comes out is, yeah, but so it's, it's, I mean,
23:56
I've, I've been trying to use a lot of them.
23:58
And this, this sounds very competent.
23:59
Like, like the quality of AI music compared to when I first
24:03
started writing about a few years ago, compared to even last
24:06
year. Like it's improving really fast.
24:08
And that's the one thing I think people who don't use these
24:10
things maybe don't always get. Is that what what it could do
24:14
last month? It can do better this month to.
24:19
To to be fair I went onto the website and you can find
24:24
examples of what people have created to date and obviously
24:29
clicked on indie and there were. I've only listened to two or
24:33
three tracks, but two of them and there was 1 slightly
24:36
ethereal female vocal, quite sparse, almost almost Skokie.
24:44
But it was very, very tender type of song that actually stood
24:49
up very well. So yes, you're right, the
24:53
quality is, is getting much better.
24:55
I mean, it's it, it was if I'd have received it and hadn't been
24:59
told it was an AI song and someone from APR company or a
25:03
radio promotions company had census the song with, you know,
25:07
a fake biog of an artist. I, I probably would have
25:12
believed it was real. It's so it's possible.
25:15
Some of it's, you know, possible.
25:17
It's not innovative, but it was passed.
25:21
Yeah, it's possible. It fits.
25:23
It does what's been done before very well.
25:27
And that's it. And you haven't got those humans
25:29
taking. I mean, I think this is where as
25:32
these tools evolve, I think one thing that would be interesting
25:36
is if they evolved to have give you more input as the human to
25:40
warp it and bend it into new kind of weird things.
25:43
But then that that blurring of what is AI music and what is a
25:46
musician doing their work, It's going to be interesting.
25:48
But I, I agree. But I do, I do know probably a
25:50
lot of our listeners I think are quite intrinsically about AI
25:55
music because they love human music so much.
25:59
But I do think it's really worth playing with these things when
26:01
they come out, especially when they're free, just to understand
26:04
what they can do. And, and maybe, you know,
26:06
whether it's a case of know Your enemy or if you're generally
26:08
curious about technology like they are developing so fast.
26:11
Yeah, I might. One thing I should do, maybe my
26:13
new trolling thing, will be to to send you one demo a week
26:16
anonymously. Until 1.
26:18
Gets through the net. As I was, as I was saying that,
26:21
I suddenly realise I've opened up the possibility now for for
26:24
people all over the place to just start making up musicians
26:27
names and sending us tracks by actually fictitious artists.
26:32
I mean, this is what's going. To happen, please, please don't.
26:34
It's, but this is. True.
26:35
Like this is what's going to happen because I mean, you're,
26:37
you're a human creator, aren't you?
26:38
You are being sent music and deciding what's good.
26:40
And I'm going to play it on the radio and it, I mean, it's going
26:43
to be happening. People are going to be chanting
26:44
their arm and, and it's, it's, it's going to be a fascinating,
26:47
slightly scary future. Finally, for this week you've
26:52
had ABBA the experience. Now the Libertines have recorded
26:56
a performance as holograms for the new Live Odyssey music
27:01
experience in Camden. There's a piece, there's an
27:05
article about this on the Enemy website.
27:07
I had a conversation with somebody about this last week on
27:11
the phone and when they said have you heard of Live Live
27:14
Odyssey and then went on to explain what it was, I went,
27:17
you're, you are, you're making this up, aren't you?
27:20
But no, it's true. Live Odyssey, described as a
27:24
celebration of the rich tapestry of British music, offering a
27:28
unique experience for music lovers of all ages, opens in
27:33
Camden in May, The Enemy reports.
27:36
The immersive and interactive experience promises
27:40
state-of-the-art technology with the raw spirit of live
27:43
performance through a 2 1/2 hour musical adventure that captures
27:47
the evolution of British music from the early anthem to the 60s
27:50
and 70s, to the Britpop glory of the 90s and the defining sounds
27:56
of today. So there's various rooms and in
27:59
each room it covers a different era of music.
28:04
And for the launch they filmed the Libertines and have turned
28:07
it into this hologram performance, which you were
28:11
saying it's not. It's not the Libertines in their
28:15
in their noughties prime. It's been recorded quite
28:18
recently I think. Well, in their twenty 20s prime,
28:21
we should say. So people don't cross with this.
28:23
But yeah, because you think that the temptation would be, yeah,
28:26
you know, do it when we were young and whip it thin.
28:28
But it's them now and they're kind of, but they've got their
28:31
red tunics on like it's, it's a full Libertines look, isn't it?
28:34
Yeah. Yeah, I think it's interesting
28:36
because it's this is, this is a departure, isn't it, from the
28:38
other stuff we've had which has been about bands, legacies and
28:41
and, you know, I think kids are doing it.
28:43
Absolutely. So this is more, I guess this is
28:46
more part of this exhibition. It's not Libertines going right.
28:48
We're going to stop playing live and we're going to do a hologram
28:50
tour. But I guess now they have the
28:52
technology if they decide to do that to.
28:55
I love the quotes as well. Have you seen the quotes?
28:57
No, go on. You know, they've always had a
28:59
way of words, haven't they, Libertines.
29:01
So Carl, Carl was like performing for this in Camden.
29:05
Felt full circle from us, from squatters to holograms, buskers
29:09
to beams of light, which I really like as a quote.
29:13
That is, that is nice. Yeah.
29:15
I mean, we've, we've got no idea.
29:17
We'll have to do some digging with this because I've got, I've
29:19
got no idea how much a project like this would cost, but it
29:23
won't have been cheap. And I think, although I don't
29:26
think it's referenced in the stories I've read, I think from
29:29
what I was told, it's going to be in the stables in Camden,
29:33
which is, yeah, you know, Top Ends as you're walking up
29:35
towards Chalk Farm. And.
29:37
But that, that in itself is interesting, isn't it, The fact
29:40
that they've chosen Camden, which was, you know, so central
29:43
to British music in the 90s, but it's kind of less so now,
29:47
certainly as a gigging destination as people have moved
29:49
towards East London. But who knows, this might be a
29:52
catalyst for bringing music fans back to the Camden area.
29:56
And if subsequently that boosts the footfall at, you know, the
30:01
surviving venues in Camden, then all the better that would be
30:05
that would be great. And also I think a portion of
30:08
ticket sales is going to the music venue trust, isn't it?
30:10
Yes. So there'll be a there'll be a
30:11
financial you, you go and see a hologram libertines, some of
30:14
that money will be going. We'll go back to grassroots.
30:16
Yeah, actual, actual gigs. Yeah, one for music tourists.
30:21
And that I think is about it from us for this week.
30:25
Thank you very much for listening.
30:27
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30:30
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30:33
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31:12
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31:15
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31:22
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31:27
everybody. Cheerio.
31:57
None.