Tiktok has insurmountable effects on the pop industry. It would only make sense for everyone to accept that technology will inevitably change art, writes Oskari Onninen.
Isac Elliotin hittisingle 20min is an example of how Tiktok has instantly changed pop marketing.
Pop music is not a performance sport, but you should marvel at the numbers that 20min watched Spotify.
The number of streams in Finland on the first day of the song released a week ago was more than one and a half times higher than in any other Finnish song this year. That would have been enough for a huge British market in the sixth. There were 1.2 million listings per week. In recent years, we have not become accustomed to similar figures, but the share of the hit tip in all listening has been declining.
Reason The success of Spotify is simple: 20min managed to grow into a hit even before any fan had heard it completely.
Namely, Isac Elliot had published a clip of the chorus of the song in Tiktok on the first day of June, a week and a half before the actual song was released. On the best day, four million users have come across it in the app, the record company says.
Tiktok is the first social media in years to make pop songs a viral hit. That’s because, since then, Myspace’s second-century golden-age social media hasn’t been able to associate music as an integral part of who it is.
A musician only needs a text hook, a dance, or anything else that people identify with or react to wanting to tell about themselves using a snippet.
Isac Elliot’s hook is the phrase: “I wouldn’t go to the streets to get the wolf out of Stad.” Earlier in the spring Plush rose to the top of the list through Tiktok, singing, “Can I make butterflies anymore”.
Excellent sentences for both.
Tiktokin Insurmountable effects on the pop industry have been observed and gutted for years. In 2020, The Rolling Stone wrote how many think it’s good to test song clips and hooks in advance in a troubled and algorithmically mystical Chinese application.
And the more the younger and more passionate audience has abandoned Instagram, the more important Tiktok has become. The past spring has been a clear turning point.
Reactions have been in line with it, although it would only make more sense to accept that technology will inevitably change art.
Music editor of The Atlantic Spencer Kornhaber sees the app as the opposite of spectacle music videos: it demands the usual from artists to banality and encourages them to add tricks that seem like kindergarten games to their songs.
The number one pop star Halsey, Florence Welch, Charli XCX and FKA twigs recently apologized to the crowd for the record companies forcing them to be in Tiktok.
And isn’t it going to offer Finns a wonderfully uncomfortable look in the coming months, when those artists who don’t want or know how to find Tiktok marketing?
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