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Stock Music Market Size Is Set to Grow by USD 650.4 Million From 2024-2028

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The globalĀ stock music marketĀ size is estimated to grow byĀ USD 650.4 millionĀ from 2024-2028, according to Technavio. The market is estimated to grow at a CAGR of 8.09% during the forecast period. Rising adoption of subscription modelĀ is driving market growth,Ā with a trend towardsĀ expanding variety of stock music. However,Ā lack of ownership of streamed music and issues associated with integration poses a challenge. Key market players include Addictive Tracks Ltd., Adobe Inc., Artlist Ltd., Audio Network Ltd., Bensound, Envato Pty Ltd., Epidemic Sound AB, Filmstro Ltd., Footage Firm Inc., HookSounds, Marmoset LLC, Music Vine Ltd., MusicRevolution LLC, NEO Sounds Ltd., Pixabay GmbH, Shutterstock Inc., Smartsound LLC, SoundCloud Global Ltd. And Co. KG, The License lab LLC, and Trad Ventures LLC.

The stock music market experiences significant growth due to the increasing demand for background music in various applications. Stock music tracks are popularly used in TV shows, corporate videos, on-hold productions, websites, and YouTube videos. RF music, a type of stock music, is extensively utilized in YouTube videos as it allows users to legally use licensed music for their video content. Corporate clients employ RF music for creating impactful presentations and marketing videos. Appropriate music selection can enhance the ambiance and influence audience perception. Additionally, stock music is used for voice-overs to set the mood and context for product or service promotions. The wide availability and variety of stock music cater to diverse needs, driving the market’s growth during the forecast period.

In today’s digital world, the Stock Music Market is booming. With the rise of internet advertising and TV advertising, the demand for high-quality music for video content has skyrocketed. Streaming services like Netflix and Hulu are leading the charge, but digital advertising, online marketing, podcasting, and broadcasting also require music. Independent filmmakers, multimedia artists, and even businesses are turning to stock music libraries for authentic tunes. The gig economy has given rise to a new generation of stock music producers, offering a wide range of genres and styles. Technology and social media have made it easier than ever for content creators to access these libraries, making the Stock Music Market a global business. Editing tools and platforms have also made it simple for professionals to find the perfect track for their project. Millennials, in particular, value authenticity in their audio marketing, making stock music an essential tool for businesses looking to connect with this demographic. From TV and films to advertisements, video games, corporate production, and entertainment, the user base for stock music is vast and diverse.

The digital music market, which includes stock music publishing, is experiencing significant growth due to the increasing popularity of digital music and the proliferation of music streaming services. Mobile apps offer both free and paid streaming options with vast music libraries. However, listeners do not own the music they access through these services, and an internet connection is necessary. This lack of ownership and the need for constant connectivity prevent some consumers from relying solely on streaming services. Instead, they prefer downloading music for ownership and offline access. Integrating stock music platforms into various channels, such as mobile apps and social media, necessitates considerable time and financial investment for software coding. Effective integration requires vendor support for all platforms, adding to the complexity and cost. These business process challenges and the need for substantial investments hinder the entry of new vendors and threaten the sustainability of existing ones. Consequently, the global stock music market faces obstacles in expanding during the forecast period.

The Stock Music Market faces several challenges in today’s dynamic business landscape. Millennials prefer authenticity and technology, leading to a surge in demand for original music and social media integration. Music libraries cater to content creators in TV, films, advertisements, video games, and corporate production, requiring a vast user base and diverse offerings. Stock music producers must navigate licensing complexities, including attribution and exploitable rights, while maintaining a premium quality and competitive pricing. Market participants likeĀ Premiumbeat, Coca-Cola, Budweiser, and touring musicians leverage stock music for brand assets and advertising material, localization, and digital efforts. Cultural change agents and local musicians contribute to a diverse and evolving market. Technology enables a unified approach through platform integration, and the entertainment business adapts with multimedia content, instore activations, and digital elements. Media spending shifts towards radio advertising and audio marketing, withĀ PragueĀ emerging as a significant hub for stock music production.

Ā The Stock Music Market is a thriving business platform where creators sell their original music compositions to businesses for use in various media projects. Companies license these tracks for advertising, films, TV shows, and other multimedia content. Transactions occur through secure online marketplaces, ensuring a seamless experience for both parties. This mutually beneficial arrangement saves businesses time and resources while providing musicians with a steady income stream.

TheĀ global Background Music MarketĀ is projected to grow steadily, driven by the increasing demand in retail, hospitality, and commercial spaces to enhance customer experience. Meanwhile, theĀ global Live Music MarketĀ is booming, fueled by rising disposable incomes and the growing popularity of music festivals and concerts. TheĀ global Guitar Market is also experiencing growth, supported by the increasing number of music enthusiasts and the influence of social media on musical trends. Together, these markets reflect the dynamic and evolving landscape of the global music industry.

The Stock Music Market is a dynamic and evolving industry that caters to the diverse needs of content creators in the digital age. With millennials dominating the consumer landscape, technology and social media have become the driving forces behind the demand for authentic and engaging audio content. Music libraries have emerged as key players, providing a vast selection of royalty-free tracks for use in various sectors. TV, films, advertisements, video games, corporate production, and independent filmmakers all rely on stock music to enhance their multimedia projects.

The Stock Music Market is a dynamic and evolving industry that caters to the diverse needs of content creators, businesses, and media platforms in the digital age. With millennials leading the cultural change, technology and social media have transformed the way we consume and create music. Authenticity is key, and stock music libraries offer a vast array of original music for various genres and styles, suitable for TV, films, advertisements, video games, corporate production, and entertainment business. Content creators, from touring musicians to local artists, benefit from this market by licensing their music for exploitable rights. Brands, such as Coca-Cola andĀ Budweiser, use stock music as brand assets for advertising and branding material, while localization and platform integration ensure a unified approach for global audiences.

Tencent Music Entertainment Group Announces Second Quarter 2024 Unaudited Financial Results

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TencentĀ Music Entertainment Group (“TME,” or the “Company”) (NYSE:Ā TMEĀ and HKEX: 1698), the leading online music and audio entertainment platform inĀ China, today announced its unaudited financial results for the second quarter endedĀ June 30, 2024.

Second Quarter 2024 Financial Highlights

  • Total revenuesĀ wereĀ RMB7.16 billionĀ (US$985 million), representing a 1.7% year-over-year decrease, primarily due to a decline in revenues from social entertainment services and others, which was partially offset by strong year-over-year growth in revenues from online music services.
  • Revenues from music subscriptionsĀ wereĀ RMB3.74 billionĀ (US$515 million), representing 29.4% year-over-year growth. The number of paying usersĀ increased by 17.7% year-over-year to 117.0 million, up by 3.5 million from the first quarter of 2024.
  • Net profitĀ wasĀ RMB1.79 billionĀ (US$247 million), representing 33.1% year-over-year growth.Ā Net profit attributable to equity holders of the CompanyĀ wasĀ RMB1.68 billionĀ (US$231 million), representing 29.6% year-over-year growth.Ā Non-IFRS net profit[1]Ā wasĀ RMB1.99 billionĀ (US$273 million), representing 25.7% year-over-year growth.Ā Non-IFRS net profit attributable to equity holders of the Company[1]Ā wasĀ RMB1.87 billionĀ (US$258 million), representing 22.5% year-over-year growth.
  • Diluted earnings per ADSĀ wasĀ RMB1.07Ā (US$0.15), up fromĀ RMB0.82Ā in the same period of 2023.
  • TotalĀ cash, cash equivalents, term deposits and short-term investmentsĀ as ofĀ June 30, 2024Ā wereĀ RMB35.03 billionĀ (US$4.82 billion).

Mr. Cussion Pang, Executive Chairman of TME, commented, “We are pleased to report another quarter of robust results, driven by the strong performance of our online music services. With over 10 million net subscriberĀ additionsĀ in the first half of 2024 andĀ ARPPU expansion, we continue to break new grounds withinĀ China’sĀ streaming landscape. We remain optimistic about the music industry’s long-term potential and are committed to sustainably achieving our mid- to long-term goals, at a healthy pace and with the right balance. This approach has been instrumental in the past as we effectively navigated across various development stages and changing external environments, and it will continue to fuel innovation and growth for the years to come.”

Mr.Ā Ross Liang, CEO of TME, continued, “Our focus on user-centric innovation continued to pay off, as we have seen a steady increase in both online music subscribers and retention. This achievement is the result of further enriched membership benefits as well as unique streaming experiences delivered to a broader user base. We are delighted to see improved user loyalty on our platform, thanks to multi-faceted product and technological advancements that bring out increasingly engaging and entertaining music journey for each user.”

Second Quarter 2024 Operational Highlights

  • Key Operating Metrics

2Q24

2Q23

YoY %

MAUs – online music (million)

571

594

(3.9Ā %)

Mobile MAUs – social entertainment (million)

93

136

(31.6Ā %)

Paying users – online music (million)

117.0

99.4

17.7Ā %

Paying users – social entertainment (million)

7.9

7.5

5.3Ā %

Monthly ARPPU – online music (RMB)

10.7

9.7

10.3Ā %

Monthly ARPPU – social entertainment (RMB)

73.2

135.0

(45.8Ā %)

Enriched content library, deepened record label collaborations, and self-produced content offerings boosted our content ecosystem.Ā 

  • Our strong alliances with record labels ensure ongoing and deeper collaborations, including but not limited to providing users with early listening privileges to new songs to promote membership conversion and engagement. Our recent contract renewal withĀ Sodagreen and CJ ENM reaffirmed this effective approach.
  • Introduced digital album offerings with distinguished fan-artist interaction benefits, and premiered notable new releases in the quarter. Particularly,Ā Zhou Shen’s digital albumĀ ShenselfĀ topped sales volume on our platform for this year. The digital albums of Lay Zhang and aespa also delivered solid performances.
  • Supported artists in hosting concerts and staged our own music festivals, providing fans with early access to value-added services such as ticketing and artist merchandise, thereby elevating our industry influence. For example, we 1) upgraded our flagship annual event,Ā TMEA 2024, featuring a wider array of artists from top nationwide singers and emerging musicians to overseas idols; 2) hostedĀ TIA RAY’sĀ first large-scale concert tour, highlighted by creative stage design, and achieved a sell-out success; 3) initiated a new collaboration withĀ Karen Mok, customizing event-themed merchandise for her concert.
  • Capitalized on extensiveĀ IP and artist resources to elevate production, promotion, and success of our self-produced content. 1) Produced chart-topping soundtracks for TV dramasĀ Joy of Life 2Ā andĀ The Tale of Rose, featuring joint promotion with the cast on our music Apps; 2) Promoted original contentĀ Heard of YouĀ andĀ Who Am IĀ on the popular national music variety show The Treasured Voice Season 5, with both songs going viral and boosting streams on our platform.

Unique blend of premium benefits, original content, and a variety of engaging use cases drove sustainable subscriber growth.

  • Advanced sound quality across devices and platforms consistently,Ā e.g. QQ Music introduced Premium Panoramic Sound 2.0 and Kugou Music rolled out Viper Ultra Sound, both featuring ultra-clear sound quality and saw increased user adoption.
  • Introduced more personalized privileges to strengthen member loyalty. Our proprietary players andĀ ringtones crafted based on famous IPs and artists have been well received by members.
  • Offering original content that appeals to different music preferences is proven to be increasingly effective for subscriber conversion.
  • Our Super VIP (SVIP) service has started to gain more traction, thanks to our efforts in meeting members’ evolving needs. It provides a holistic listening experience across various devices and scenarios, including music and long-form audio content, with additional benefits such as priority access to digital albums and ticket booking for offlineĀ performances.

Enhanced listening experience for a wider audience through advanced technology and innovative product features.

  • Upgraded our recommendation middleware to allow for a more personalized music discovery experience. Notably, nearly 40% of streams were generated from recommendations during the quarter.
  • AppliedĀ AIGC to elevate sound quality and interactive streaming experience. For example, we introduced data-saving AI-enhanced SQ Lite Mode while preserving superior sound quality, and rolled out a virtual DJ feature within Kugou Music to provide users with tailored music introductions and a sense of companionship.
  • Recently launched a multi-device synchronized playback feature and a compact, half-screen music player that allow users to navigate music streaming seamlessly.
  • Expansive rewards program gained popularity among users, resulting in more frequent and longer listening sessions.

Second Quarter 2024 Financial Review

Total revenuesĀ decreased toĀ RMB7.16 billionĀ (US$985 million) fromĀ RMB7.29 billionĀ in the same period of 2023.

  • Revenues from online music servicesĀ delivered a strong year-over-year increase of 27.7% toĀ RMB5.42 billionĀ (US$746 million) fromĀ RMB4.25 billionĀ in the same period of 2023. The increase was driven by solid growth in music subscription revenues, supplemented by growth in revenues from advertising services. Revenues from music subscriptions wereĀ RMB3.74 billionĀ (US$515 million), representing 29.4% year-over-year growth compared withĀ RMB2.89 billionĀ in the same period of 2023. This rapid growth was driven by continuous expansion in the online music paying user base and improved ARPPU. The number of online music paying users increased by 17.7% year-over-year to 117.0 million, with a monthly ARPPU ofĀ RMB10.7Ā in the second quarter of 2024. The increase in the number of paying users was primarily due to high quality content, attractive membership privileges, and optimized user operations and effective promotions. The year-over-year increase in revenues from advertising was primarily due to our more diversified product portfolio and innovative ad formats, including ad-supported mode and sponsorship advertising. Additionally, increased revenues from offlineĀ performancesĀ also contributed to the growth in revenues from online music services.
  • Revenues from social entertainment services and othersĀ decreased by 42.8% toĀ RMB1.74 billionĀ (US$239 million) fromĀ RMB3.04 billionĀ in the same period of 2023. The continued decrease was mainly the result of adjustments to certain live-streaming interactive functions and more stringent compliance procedures we started to implement in the second quarter of 2023, as well as increased competition from other platforms.

Cost of revenuesĀ decreased by 13.3% year-over-year toĀ RMB4.15 billionĀ (US$571 million), mainly due to decreased revenues from social entertainment services that led to less revenue sharing fees, partially offset by increased content costs of royalties, costs related to offline performances and payment channel fees.

Gross marginĀ increased to 42.0% from 34.3% in the same period of 2023, primarilyĀ due to strong revenue growth from music subscriptions and advertising services, and the ramp-up of our own content.

Total operating expensesĀ decreased by 8.5% year-over-year toĀ RMB1.15 billionĀ (US$158 million). Operating expenses as a percentage of total revenues decrease to 16.0% from 17.2% in the same period of 2023.

  • Selling and marketing expenses wereĀ RMB210 millionĀ (US$29 million), which were relatively stable compared with same period of last year. We continue to maintainĀ ROI focused approach for promotion expenses.
  • General and administrative expenses wereĀ RMB938 millionĀ (US$129 million), representing a 10.2% year-over-year decrease. This decrease was primarily due to reduced employee-related expenses.

TotalĀ operating profitĀ wasĀ RMB2.20 billionĀ (US$302 million) in the second quarter of 2024, representing an increase of 42.8% year-over-year.

The effective tax rate for the second quarter of 2024 was 19.4% compared with 12.2% in the same period of 2023. The increase in the effective tax rate was mainly driven by the accrual of withholding income tax ofĀ RMB111 millionĀ (US$15 million) in the second quarter of 2024. Additionally, changes in preferential tax rates for certain entities also impacted our effective tax rate.

For the second quarter of 2024,Ā net profitĀ wasĀ RMB1.79 billionĀ (US$247 million) andĀ net profit attributable to equity holders of the CompanyĀ wasĀ RMB1.68 billionĀ (US$231 million).Ā Non-IFRS net profitĀ wasĀ RMB1.99 billionĀ (US$273 million) andĀ non-IFRS net profit attributable to equity holders of the CompanyĀ wasĀ RMB1.87 billionĀ (US$258 million). Please refer to the section in this press release titled “Non-IFRS Financial Measure” for details.

Basic and diluted earnings per American Depositary Shares (“ADS”)Ā for the second quarter of 2024 wereĀ RMB1.09Ā (US$0.15)Ā andĀ RMB1.07Ā (US$0.15), respectively;Ā non-IFRS basic and diluted earnings per ADSĀ wereĀ RMB1.21Ā (US$0.17)Ā andĀ RMB1.19Ā (US$0.16), respectively. The Company had weighted averages of 1.54 billion basic and 1.57 billion diluted ADSs outstanding, respectively. Each ADS represents two of the Company’s Class A ordinary shares.

Declaration and Payment of 2023 Dividend

OnĀ May 11, 2024, the Company’s board of directors declared a cash dividend ofĀ US$0.0685Ā per ordinary share, orĀ US$0.1370Ā per ADS, for the year endedĀ December 31, 2023, to holders of record of ordinary shares and ADSs as of the close of business onĀ May 31, 2024. The payment for the cash dividend ofĀ US$212 millionĀ was made inĀ June 2024.

As ofĀ June 30, 2024, the combined balance of the Company’sĀ cash, cash equivalents, term deposits and short-term investmentsĀ amounted toĀ RMB35.03 billionĀ (US$4.82 billion), compared withĀ RMB34.18 billionĀ as ofĀ March 31, 2024.

Social Responsibilities

In the second quarter, we cooperated withĀ TencentĀ Charity to launch another “Little Red Flower Concert”, aiming to share compassion through music and inspire the society as a whole. We continued to partner with volunteer artists and teachers to support local education, and amplified its online reach this year by deepening collaboration with Weixin Video Accounts.

Exchange Rate

This announcement contains translations of certain RMB amounts into U.S. dollars (“USD”) at specified rates solely for the convenience of the reader. Unless otherwise stated, all translations from RMB to USD were made at the rate ofĀ RMB7.2672Ā toĀ US$1.00, the noon buying rate in effect onĀ June 28, 2024, in the H.10 statistical release of the Federal Reserve Board. The Company makes no representation that the RMB or USD amounts referred could be converted into USD or RMB, as the case may be, at any particular rate or at all. For analytical presentation, all percentages are calculated using the numbers presented in the financial statements contained in this earnings release.

Non-IFRS Financial Measure

The Company uses non-IFRS net profit for the period, which is a non-IFRS financial measure, in evaluating its operating results and for financial and operational decision-making purposes. TME believes that non-IFRS net profit helps identify underlying trends in the Company’s business that could otherwise be distorted by the effect of certain expenses that the Company includes in its profit for the period. TME believes that non-IFRS net profit for the period provides useful information about its results of operations, enhances the overall understanding of its past performance and future prospects and allows for greater visibility with respect to key metrics used by its management in its financial and operational decision-making.

Non-IFRS net profit for the period should not be considered in isolation or construed as an alternative to operating profit, net profit for the period or any other measure of performance or as an indicator of its operating performance. Investors are encouraged to review non-IFRS net profit for the period and the reconciliation to its most directly comparable IFRS measure. Non-IFRS net profit for the period presented here may not be comparable to similarly titled measures presented by other companies. Other companies may calculate similarly titled measures differently, limiting their usefulness as comparative measures to the Company’s data. TME encourages investors and others to review its financial information in its entirety and not rely on a single financial measure.

Non-IFRS net profit for the period represents profit for the period excluding amortization of intangible and other assets arising from business acquisitions or combinations, share-based compensation expenses, net losses/gains from investments and related income tax effects.

Please see the “Unaudited Non-IFRS Financial Measure” included in this press release for a full reconciliation of non-IFRS net profit for the period to its net profit for the period.

[1]Ā Non-IFRS net profit and non-IFRS net profit attributable to equity holders of the Company were arrived at after excluding the combined effect of amortization of intangible assets and other assets arising from business acquisitions or combinations, share-based compensation expenses, net losses/gains from investments, and related income tax effects.

AboutĀ TencentĀ Music Entertainment

TencentĀ Music Entertainment Group (NYSE:Ā TMEĀ and HKEX: 1698) is the leading online music and audio entertainment platform inĀ China, operating the country’s highly popular and innovative music apps: QQ Music, Kugou Music, Kuwo Music and WeSing. TME’s mission is to create endless possibilities with music and technology. TME’s platform comprises online music, online audio, online karaoke, music-centric live streaming and online concert services, enabling music fans to discover, listen, sing, watch, perform and socialize around music. For more information, please visit ir.tencentmusic.com.

Safe Harbor Statement

This press release contains forward-looking statements. These statements are made under the “safe harbor” provisions of the U.S. Private Securities Litigation Reform Act of 1995. Statements that are not historical facts, including statements about the Company’s beliefs and expectations, are forward-looking statements. Forward-looking statements involve inherent risks and uncertainties, and a number of factors could cause actual results to differ materially from those contained in any forward-looking statement. In some cases, forward-looking statements can be identified by words or phrases such as “may,” “will,” “expect,” “anticipate,” “target,” “aim,” “estimate,” “intend,” “plan,” “believe,” “potential,” “continue,” “is/are likely to” or other similar expressions. Further information regarding these and other risks, uncertainties or factors is included in the Company’s filings with the SEC and the HKEX. All information provided in this press release is as of the date of this press release, and the Company does not undertake any duty to update such information, except as required under applicable law.

5 Things You Might Not Have Known About Oasis’ ‘Definitely Maybe’ Album

Oasis’ Definitely Maybe wasn’t just an album—it was the musical and cultural shift that made Britpop explode worldwide. From the anthemic “Rock ‘n’ Roll Star” to the cool swagger of “Supersonic,” Oasis crafted a debut that captured the raw hunger of a band who wanted it all, on the brink of actually getting it. Recorded over multiple sessions with relentless energy, Definitely Maybe didn’t just launch a band—it defined an era.

  • Debut Album Sales Record: Upon its release in 1994, Definitely Maybe became the fastest-selling debut album in UK history, selling over 86,000 copies in its first week. This record stood until it was surpassed by Arctic Monkeys’ Whatever People Say I Am, That’s What I’m Not in 2006.
  • The Original Recording Was Scrapped: Before the final version, the entire album was recorded at a different studio with a different producer. The band was unhappy with the sound, leading them to scrap the initial recordings and start over with producer Owen Morris, who gave the album its signature loud, raw sound.
  • ā€œSupersonicā€ Was Written in a Day: Noel Gallagher wrote the band’s first single, “Supersonic,” in just one day during a recording session. The song wasn’t planned but emerged organically as the band jammed in the studio, and it became one of their most iconic tracks.
  • Influenced by T. Rex and Slade: While Definitely Maybe is often associated with its heavy Beatles and Stones influence, some tracks were also shaped by glam rock bands like T. Rex and Slade. You can hear that gritty, anthemic style in songs like “Cigarettes & Alcohol.”
  • Noel Played Every Guitar Solo: Despite Liam Gallagher’s dominant role as lead vocalist, Noel Gallagher played all the guitar solos on Definitely Maybe, including the powerful solos on tracks like “Live Forever” and “Slide Away,” showcasing his dual role as both lead guitarist and songwriter.

5 Fun Facts About The Beatles’ Revolver Album

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Revolver marked a pivotal moment in The Beatles’ career, blending experimental sounds with groundbreaking studio techniques. Tracks like “Tomorrow Never Knows” and “I’m Only Sleeping” showcased the first use of backward guitar recording and automatic double tracking (ADT), pushing the boundaries of music – popular and otherwsise. From psychedelic rock to children’s tunes like “Yellow Submarine,” there really is something for everyone.

  • First Use of Backward Guitar Recording: Revolver features the first use of reversed guitar recordings in popular music, particularly on the song ā€œI’m Only Sleeping.ā€ George Harrison’s guitar solo was recorded, reversed, and then layered onto the track, giving it a dreamy, otherworldly sound.
  • First Use of Automatic Double Tracking (ADT): Engineer Ken Townsend at Abbey Road Studios developed ADT specifically for The Beatles during the Revolver sessions. This technique automatically doubled a vocal or instrumental track, creating a fuller sound without the need for manually recording multiple takes.
  • “Tomorrow Never Knows” Inspired by Timothy Leary: The lyrics of “Tomorrow Never Knows” were inspired by Timothy Leary’s book The Psychedelic Experience, which was itself a reinterpretation of The Tibetan Book of the Dead. John Lennon drew from these texts, creating the song’s spiritual and experimental atmosphere.
  • Ringo’s Favorite Drum Sound: Ringo Starr has often stated that the drum sound on Revolver is one of his favorites. His tight, punchy drumming on tracks like “She Said She Said” and “Tomorrow Never Knows” was achieved by stuffing blankets in his bass drum and closely mic-ing the kit.
  • ā€œYellow Submarineā€ Was Written for Children: While it’s often viewed as a whimsical Beatles classic, ā€œYellow Submarineā€ was intentionally written as a children’s song. Paul McCartney composed it with a simple, sing-along structure and handed the vocals to Ringo Starr, as he often sang the more lighthearted songs.

Photo Gallery: Vampire Weekend with Cults at Toronto’s Budweiser Stage

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All photos by Mini’s Memories. You can contact her through Instagram or X.

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Live Nation Canada unveils plans for Rogers Stadium, a new seasonal concert venue in Toronto

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Live Nation Canada has unveiled plans for Rogers Stadium, a new seasonal outdoor concert venue that will open at YZD (formerly Downsview Airport Lands) summer 2025. With a capacity of 50,000, Rogers Stadium will become Toronto and the GTA’s largest purpose-built music venue hosting fans and artists from around the globe. Built as a unique open-air experience, the facility will become one of Canada’s newest landmark concert destinations, reinforcing the city’s reputation as a must-play market on the global music scene.

ā€œThe number of stadium-level acts touring today is unprecedented, with more acts than available nights at existing venues. That’s why we’re making this investment—to ensure Toronto fans don’t miss out on world-class artists. Rogers Stadium will not only meet this demand but also offer a premium stadium show experience, combined with the festival vibe that our fans love,ā€ said Erik Hoffman, President, Music, Live Nation Canada. ā€œThis a natural evolution of our stadium programming and we’re excited to bring this new venue to life with our partners at Rogers while continuing to book world-class shows at Rogers Centre, as well.ā€

ā€œAs Canada’s leading communications and entertainment company, we’re proud to partner with Live Nation to bring the country’s newest landmark concert destination to Toronto,ā€ said Tony Staffieri, President and CEO, Rogers. ā€œRogers Stadium will attract the best artists from around the world and provide concertgoers with a premium entertainment experience in a unique festival atmosphere.ā€

ā€œI’m so pleased to welcome Live Nation and the future Rogers Stadium to YZD,ā€ said Premier Doug Ford. ā€œThis exciting venue will bring even more tourists and investment to our province, boosting local businesses, creating new jobs and drawing in artists and events from around the world.ā€

Rogers Stadium will be strategically positioned at the north end of the former airport’s runway, serving as a temporary fixture as Northcrest’s $30B transformative masterplan unfolds over the coming years. The stadium is centrally located, with easy access to 400-series highways and public transit connections, making it easily accessible. This landmark will not only visually anchor the evolving 370-acre site but play a crucial role in energizing both the city and the region’s economy. By hosting a wide range of concerts and music acts, Rogers Stadium’s construction and operation will generate thousands of jobs, boosting tourism, supporting local businesses and injecting an estimated $80-$100M into the local economy.

“This new music venue will enhance Toronto’s reputation as a world leading destination for the biggest touring acts from around the globe,ā€ said Mayor Olivia Chow.

“Rogers Stadium is a testament to our vision for this masterplan, which includes a series of communities, creating a space where people come together to experience the best the city has to offer,ā€ said Derek Goring, Chief Executive Officer of Northcrest Developments. ā€œOur 370-acre project’s scale and impact are unprecedented. With development plans for these lands years away, this new venue serves not only as a premier concert venue but also reflects Northcrest’s commitment to creating a seasonal destination that brings much-needed infrastructure for the city’s arts and culture sector. This partnership is one of the many ways we continue to shape the soul of this community before development even begins, ensuring that YZD becomes a beacon of cultural and community life for years to comeā€.

The YZD transformation project, spearheaded by Northcrest Developments, represents one of North America’s largest mixed-use redevelopments. Over the coming decades, YZD will evolve into a connected series of communities with seven new neighborhoods, accommodating over 55,000 residents. The development includes more than 28 million square feet of residential space, seven million square feet of commercial and cultural spaces, and nearly 74 acres of parks and green spaces.

How Taylor Swift’s Eras Tour Is Boosting Local Economies

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When Taylor Swift rolls into town, it’s not just her fans who feel the excitement—local businesses do too. With an estimated $10-13 million flowing into local economies for each stop of her Eras Tour, Swift’s concerts are more than just a cultural event; they’re an economic engine. From packed hotels and busy restaurants to jammed parking lots and lineups at retail stores, the financial impact of her shows reaches far beyond the stage. Whether it’s fans snapping up merchandise, booking flights, or checking out the local attractions, Taylor Swift is leaving a long-lasting mark on the cities she visits, driving revenue across a dozen sectors and creating a effect that benefits countless local companies and lives.

Hotels & Accommodation

  • Revenue: Hotel bookings for out-of-town visitors attending the concert.
  • Where it goes: Local hotels, Airbnb hosts, and other lodging services benefit from increased bookings.

Restaurants & Bars

  • Revenue: Fans dining before and after the concerts at local eateries.
  • Where it goes: Local restaurants, bars, cafĆ©s, and fast-food outlets.

Transportation

  • Revenue: Spending on taxis, ride-sharing services (Uber, Lyft), public transportation, and parking fees.
  • Where it goes: Local transportation services, parking lot operators, and ride-sharing companies.

Retail & Merchandising

  • Revenue: Purchases of concert-related merchandise (T-shirts, posters, etc.), as well as shopping at local stores.
  • Where it goes: Concert venues (for official merchandise sales), local malls, gift shops, and retail stores.

Event Tickets

  • Revenue: Ticket sales for the concert itself.
  • Where it goes: Ticketmaster, the artist, the concert promoter (Live Nation), and the venue.

Tourism

  • Revenue: Revenue generated by tourists visiting local attractions, museums, or cultural sites before or after the concert.
  • Where it goes: Local tourism boards, museums, attractions, and cultural venues.

Hospitality & Services

  • Revenue: Additional services like tour guides, salon/spa visits, and other luxury experiences.
  • Where it goes: Local businesses providing these services.

Venue Operations

  • Revenue: Income from concessions (food, drinks) and VIP packages at the concert venue.
  • Where it goes: Venue operators, concession providers, and service staff.

Temporary Employment

  • Revenue: Jobs created by the concert, such as security staff, ushers, parking attendants, and clean-up crews.
  • Where it goes: Local event staffing agencies and individuals hired temporarily for the event.

Advertising & Marketing

  • Revenue: Spending by local businesses on advertising to attract concertgoers.
  • Where it goes: Local marketing agencies, media outlets, and billboard companies.

Air Travel

  • Revenue: Flight bookings for fans traveling from other cities or countries.
  • Where it goes: Airlines and related travel services, as well as airport vendors.

These revenue streams create a ripple effect, benefiting a wide range of local industries and driving significant economic activity.

My Next Read: “Hope” by Terry Fox and Edited by Barbara Adhiya

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In 1976, when Terry Fox was just eighteen years old, he was diagnosed with osteosarcoma and his right leg was amputated just above the knee. It quickly became his mission to help cure cancer so others would not have to endure what he had gone through. He dreamed up a Marathon of Hope ― a fundraising run across Canada, from St. John’s, Newfoundland, to Victoria, British Columbia. 7,560 kilometers. 4,700 miles.

When he set off on April 12, 1980, Canadians were dubious. But as he continued across the country, enthusiasm grew to a frenzy. Sadly, Terry’s cancer returned, and after 143 days and 3,339 miles, he was forced to stop his Marathon of Hope. He passed away in 1981, but the nation picked up his mission where he left off, and the annual Terry Fox Run has even spread to cities around the world, raising more than $850 million to date ― well over Terry’s goal of one dollar for every Canadian.

After conducting over fifty interviews with people throughout Terry’s life ― ranging from his siblings, nurses, and coaches to volunteers during the Marathon of Hope ― editor Barbara Adhiya discoversĀ howĀ Terry was able to run a marathon a day. Through their stories, passages from Terry’s marathon journal, and over 200 photos and documents,Ā HopeĀ shows that with enough resilience, determination, humility, and support, ordinary people can do impossible things.

Miranda Lambert honored with SoundExchange Hall of Fame Award

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SoundExchange, the premier music tech organization powering the future of music, announced today thatĀ Miranda Lambert has been honored with the SoundExchange Hall of Fame Award, recognizing her stature as one of the most streamed creators in the organization’s 20-plus year history of administering digital performance royalties.

Miranda LambertĀ is a dynamic and fearless storyteller who has captured the hearts and imaginations of generations of fans,” saidĀ Michael Huppe, President and CEO of SoundExchange. “MirandaĀ exploresĀ music well beyond country andĀ embracesĀ life through melody, empathy, and wit. She is one of the most significant country artists of this century and we are proud to present MirandaĀ LambertĀ with the SoundExchange Hall of Fame Award.”

“I am grateful to SoundExchange for this honor, and to know that the music I’ve poured my heart into for the past two decades has connected with people all over the world,” Lambert said. “I’ve been a member since the beginning of my recording career and I appreciate all that SoundExchange does in advocating for the fair treatment of all creators.”

Lambert has been a SoundExchange member since 2005 and entrusts SoundExchange to collect worldwide neighboring rights royalties on her behalf through more than 65 agreements SoundExchange has with counterpart organizations, covering 88% of the global neighboring rights market.

Lambert’s latest critically acclaimed studio album,Ā Postcards fromĀ Texas, was releasedĀ Sept. 13Ā and is available everywhere now. Recorded inĀ Austin, Texas, the follow-up to her 2022 GRAMMY-nominated project,Ā Palomino, features current single “Wranglers” as well as fan favorites “Dammit Randy,” “Alimony,” “Armadillo,” and more.

It was also recently announced that Lambert will be honored with the Country Icon Award at the 2024 People’s Choice Country Awards, set forĀ September 26Ā atĀ Nashville’sĀ Grand Ole Opry House and airing live on NBC.

Critically acclaimed groundbreaker/songwriter/superstar Miranda LambertĀ has defined her multi-faceted career as an artist, entertainer, entrepreneur, advocate and businesswoman with an unflinching quest for excellence, honesty and conviction. With her ninth solo studio album,Ā Postcards fromĀ TexasĀ available everywhere now via Republic Records, the most-awarded artist in Academy of Country Music history, including their top honor for Entertainer of the Year, has also won three GRAMMYs and 14 Country Music Association Awards. AĀ TIME100 honoree and perennial best-of-the-year list maker at theĀ New York Times,Ā TIME,Ā Rolling Stone,Ā Billboard,Ā Stereogum,Ā PeopleĀ and more,Ā NPRĀ has called her “the most riveting country star of her generation.”

A multi-dimensional superstar, she’s earned seven No. 1 solo albums, 10 No. 1 hit radio singles, more than 80 prestigious awards and countless RIAA certifications;Ā conqueredĀ Las VegasĀ with her twice-extendedĀ Velvet RodeoĀ residency; blurred genres withĀ Leon Bridges, the B-52s,Ā Loretta Lynn,Ā Enrique Iglesias,Ā Sheryl CrowĀ andĀ Elle King; and delivered her LGBTQ+ inclusive anthem “Y’All Means All” for Netflix’s “Queer Eye.” She’s taken those standards to become aĀ New York TimesĀ bestselling author and the first female restaurateur on Lower Broadway with her Tex-Mex cantina Casa Rosa, while also expanding her creative reach with herĀ Wanda June HomeĀ collection exclusive to Walmart and her Idyllwind clothing and boot line at Boot Barn. Her passion for rescue animals inspired the creation of her MuttNation Foundation, which has raised nearlyĀ $10 millionĀ since inception to promote adoption, support shelters across the country, advance spay & neuter and assist with the transport of animals during times of natural disaster.

Macklemore, Seven Lions, Alison Wonderland, Russell Dickerson and Neon Trees to Headline Inaugural Neon City Festival On November 22-24

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The inauguralĀ Neon City Festival (NCF)Ā is set to electrify downtownĀ Las VegasĀ November 22-24, 2024, with an all-star lineup includingĀ Macklemore, Seven Lions, Alison Wonderland,Ā Russell DickersonĀ andĀ Neon Trees. The first-of-its-kind music, art and culinary event is free to all ages and will feature local food and beverage vendors, art shows, fireworks and additional musical talent spanning a variety of genres.

The “festival without fences” will transform downtownĀ Las VegasĀ into a sprawling open-air playground, extending from the Fremont East District to Fremont Street Experience and the Downtown Las Vegas Events Center, to the Arts District all the way down to Las Vegas Blvd. and The STRAT Hotel,Ā CasinoĀ & Tower.

In addition to the musical acts, Neon City Festival will also feature:

  • Food and drink specials from localĀ Las VegasĀ restaurants and bars
  • Captivating moments such as laser art shows, strolling entertainment and a special 3D-motion graphic show on “Viva Vision,” the world’s largest LED canopy screen
  • Citywide entertainment featuring block parties, pop-up performances, street festivals and surprises from beloved downtown attractions

Created by downtownĀ Las VegasĀ casinoĀ owner Stevens – with support from the Las Vegas Convention and Visitors Authority (LVCVA) – and overseen by appointed Neon City Festival CEO Victor, the event was conceived to show appreciation forĀ Las VegasĀ locals and visitors alike.

Neon City Festival’s founders include Stevens (Circa Resort &Ā Casino, Golden Gate Hotel &Ā Casino, the D Las Vegas and Downtown Las Vegas Events Center), LVCVA,Ā Steve ThompsonĀ (Boyd Gaming Corporation: Fremont Hotel &Ā Casino, California HotelĀ Casino, Main Street Station),Ā Terry CaudillĀ (Binion’sĀ GamblingĀ Hall and 4 Queens Hotel &Ā Casino),Ā Chris LatilĀ (Golden Nugget Las Vegas Hotel &Ā Casino),Ā Jonathan JosselĀ (Plaza Hotel &Ā Casino),Ā Blake Sartini Jr.Ā (The STRAT Hotel,Ā CasinoĀ & Tower),Ā Andrew SimonĀ (Fremont Street Experience),Ā Joe WoodyĀ (El Cortez Hotel &Ā Casino) andĀ Eric BuksaĀ (Downtown Grand Hotel &Ā Casino).

Additional Neon City Festival acts and happenings will be shared in the coming weeks. For more information, clickĀ here.