~ Featuring Bridget Hustwaite (Triple J), Gemma Pike (Triple J), Simon Winkler (Triple R), Chris Johnson (AMRAP), Gloria Brancatisano (SYN) and Cameron Durnsford (PBS) ~ In a constantly morphing world of evolving technology, discarded music business models and superseded consumer listening platforms, one format – radio – has survived against the odds. Continually reinventing itself and integrating new technology, radio has remained supremely relevant in the art of influencing music culture worldwide. On this panel we tune in to some of the country’s pre-eminent music radio station representatives for their views on the state of our respected broadcasters in 2016 – and what lies ahead.

Face The Music 2016

Radio: The Format That Just Won't Quit

Zola Jesus In Conversation by Face The Music

Zola Jesus In Conversation

When Next Big Sound launched in 2009, MySpace was the music industry’s online focus. iMeem and iLike were next. Spotify was years away from a US launch, Facebook had no public profile pages for brands and artists, fewer than 100 bands were on Twitter and physical revenue was still worth more than digital for every major label. Obviously a lot has changed, but some things have not: music is heard and consumed more each day; more music is produced and released every year than ever before; and the data generated from fans following, interacting, stalking, listening to and supporting their favourite artists is bigger and more valuable than at any point in history. Alex White co-founded Next Big Sound and now runs the Next Big Sound division within Pandora Media. Join him as he puts the ever-changing music industry – from a data perspective – under the microscope.

Alex White Of NextBigSound: What I've Learned From Tracking Online Music Activity

~ Featuring Mikey Cahill (Herald Sun), Tig Huggins (Sugar Mountain), Tim Harvey (Rainbow Serpent), Katie Stewart (Laneway Festival) and Kim Ambrosius (Roskilde Festival Denmark) ~ To the loyal masses who road-trip, don costumes, bejewel and body-paint – come rain, hail, mud or shine – to attend their favourite music festivals, these events transcend a simple live music experience. Done well, contemporary music festivals manifest their own micro-cultures that are participatory, tribal, escapist and capable of forming part of the identity of their punters. We speak to the creators of some of the most innovative music festivals in Australia and around the world to understand the processes behind the booking, branding and extra-curricular activities that contribute to their cult-like status.

Music Festivals: The New Lifestyle Brands

~ Featuring Leigh Treweek (The Music), Johann Ponniah (I Oh You), Si Jay Gould (Wondercore Island), Jessica Pickett (SXSW) and Ed Sholl (Future Classic) Making a name on the world stage has long been the career goal for just about every Australian musician. In recent times world renown and global acclaim have become a reality for a number of homegrown artists including Gotye, Tame Impala, Flume and Courtney Barnett. How do local acts find themselves catapulted into world culture? Calculated planning? Timing? A little bit of luck? We ask the heads behind household names outside of ‘Straya what it takes to make it beyond our borders.

Going Global: Music Business Beyond Australia

Andrew Jervis is the chief curator at Bandcamp, co-ordinating editorial and hosting the Bandcamp Weekly show online. Broadcaster, artist and Bandcamp enthusiast Tim Shiel chats to Andrew about what’s next at Bandcamp HQ, the global music landscape, streaming services and the popular platform’s recent growth announcement.

In Conversation with Bandcamp's Andrew Jervis

~ Featuring Lachlan Kanoniuk (Journalist), Ben Howe (Flying Nun), Marihuzka Cornelius (Ivy League), Ben O'Connor (Chapter Music), Huw Nolan (Good Manners) and Sweetie Zamora (Remote Control) Local independent music has never been more healthy or tasty. From Gabriella Cohen and Alex Lahey to Ali Barter, the Goon Sax and Julia Jacklin, some of the most exciting breakthrough acts of 2016 have been cultivated and served up by the independent sector. In this panel we focus on a selection of local indie labels and their appetite-whetting menu of recent releases.

The Ecosystem Of Independent Labels In Australia & New Zealand

~ Featuring Jake Cleland (Strine Whine), Mikey Cahill (Herald Sun), Brodie Lancaster (Writer & Editor), Shaad D'Souza (Freelance) and Uppy Chatterjee (The Music) The internet has not only changed the way we discover, access, purchase and consume music, it has changed the way we judge it, too. With the rise of citizen journalism through fans’ music blogs, pop-culture websites and even the comments sections under YouTube videos or on Soundcloud’s waveform textboxes, anyone can be a music critic. And when streaming services like Spotify, Bandcamp and Pandora curate playlists, they become tastemakers as well as providers. Do their selections hold as much sway as a Pitchfork or Rolling Stone review? Playlist curator vs modern music critic – who holds the real influence and relevance?

Everyone’s A Critic: The Relevance of Music Criticism

Zan Rowe has worked in music radio for 15 years, beginning in Melbourne’s vibrant community radio before joining triple j in 2005. Since 2007 she has hosted and produced triple j Mornings, a show dedicated to music discovery and in depth conversations with its makers.

Zan Rowe In Conversation with Myf Warhurst

Face The Music: It’s a summit, not a conference, yeah? It’s an important distinction. You go to a conference and you see the same names taken out of their bubble wrap once a year to talk the same safe nonsense. You go to a summit, though, and you witness a meeting of the minds, a spectacular congregation of the varying camps of the music industry. 2016 was Face The Music's best year yet, with some of the industry's best and brightest coming together for two days of panels, workshops and keynotes. We've chosen 9 of our favourite sessions to share with you as the inaugural FACE THE MUSIC podcast series. See you in November!

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Face The Music 2016

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