Jeeni a more robust music ecosystem for everyone.

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Helping the next generation of talent to build a global fanbase

Jeeni a more robust music ecosystem for everyone.

The music industry is at a critical inflection point. After years of declining sales and waning fan enthusiasm, the rise of streaming has ushered in a new golden era for an industry that has benefited artists, songwriters, copyright owners, and fans alike. In 2019, streaming was the engine driving revenue growth in the US music industry for the fifth consecutive year.

Download the 2020 Streaming Forward report, featuring the latest updates on streaming’s role in the music industry, how digital discovery is elevating new artists and genres, and what we can expect ahead.

The Evolution of the music industry over the the last two decades has been staggering. The rise of streaming has revolutionized all facets of music, empowering artists and creators by expanding their access to fans, allowing music listeners to seamlessly connect with their favorite songs whenever and wherever they want, and driving new music choice and creativity.

For fans, copyright owners, and creators alike, the positive impact of this evolution has been monumental: with total music stream reaching the one trillion mark in 2019, fans are listening to more music than ever before, and the industry is enjoying a multi-year growth cycle driven by the streaming economy.

Over the next seven years the streaming revolution will only grow more powerful. Fast-forwarding we can expect: Forecasts remain just that of the industry's trajectory in the future. While the impacts of Covid-19 are still being felt, and have undoubtedly impacted the music industry, we can expect streaming growth to continue.

What we cannot forecast is what new music consumption behaviors might surprise us, and new innovations by the streaming services that we have not begun to see. But with growing optimism and increasing inward investment attracted by the streaming-driven hyper growth, the music industry is experiencing boom times – for consumers,
record labels and publishers and most of all creators. Click here to view the 2020 Streaming Forward Report.

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10
Jun

The Death of Letitia

Jeeni has returned to Crowdcube to raise more funds for helping new talent. Jeeni founding director Mel Croucher says, “We’re ahead of our original schedule, but there’s still so much more to do. We need to scale our online platform globally now and build our mass artist showcases. Jeeni raised £100K in 6 days and we're working hard to get more investors on board. Then we can hit all our targets, and give our new artists the recognition they deserve.” If you want to see our pitch click HERE. Mel has been writing the best-loved column in top-selling tech magazines for over 30 years. Now he’s agreed to share his work with all our members. He’s a video games pioneer and musician, and to to find out more about Mel check out his Wikipedia page. https://en.wikipedia.org/wiki/Mel_Croucher. Here’s one of Mel’s latest! Black lives matter. Unless black lives feature in a videogame, in which case they don't matter a toss. I still remember the feeling of hope and despair when I played Daley Thompson's Decathlon for the first time. That was way back in the Olympic year of 1984, and it was a primitive sports simulation from Ocean software for a little home computer called the 48k Sinclair ZX Spectrum. Daley Thompson was an Olympic gold medal winner from Notting Hill. He had a fine body, and a great moustache, and according to his skin he was the son of his assassinated Nigerian dad. Anyway, I fired up the game and there on my glowing colour monitor was the pixilated figure of Daley, the great black athlete, running along a red cinder track. The thing was, the programmers had made him white. No, I couldn't believe it either. A huge crowd of spectators also appeared in the gameplay, and every one of them was as white as a Ku Klux Klan convention in a chalk pit. It's not as if no black characters ever appeared in videogames. Almost all the assassins, hoodlums, terrorists, monsters and mobsters were black, and their purpose was to be killed off willy nilly. Apart from Michael Jackson. He was the hero in a Sega videogame called Moonwalker and his role was to rescue kidnapped children and take them home. So there was nothing creepy about that, was there. Mind you, wee Michael was mostly as white in the game as he was in real life. For a real black and white issue from the early twenty-first century, I have revisited Ethnic Cleansing, developed by Resistance Records for PC desktop machines. That's the one where the white player gets sent off on a quest to murder blacks. It is equal opportunity racism, because you also score points for killing Latinos and Jews. And speaking of equal opportunities let's hear it for the computer character Letitia who appears in an update of Deus Ex, which is set in a cyberpunk future. Letitia lives on a rubbish dump, she is as horny as she is simple, and she speaks minstrel drivel in the sort of deep-South accent last heard in a Mel Brooks parody. You couldn't make it up. Except that's exactly what they did. And shame on you Mary DeMarle for writing it, Amanda Strawn for acting it, and Square Enix for publishing it. In the USA, over 70% of all African Americans play video games, but they make up less than 3% of game developers, which tells me quite a lot about the state of the play over there. This side of the pond, things are much better, where we have over 10% of people working in game development of a BAME demographic. That's a higher percentage than their number in the national working population, and way higher than in UK publishing, tv and music. This is good news, but it's where the good news ends. Last time I visited a major gaming studio in pre-lockdown, I did see several black faces. One was on security at street level, one was behind the reception desk, two were behind the counter in the canteen, and one was swilling out the bogs. The number of black and minority ethnic decision-makers in the UK computer gaming industry is shockingly low. As a result, race has lagged way behind gender and sexuality when it comes to stereotypes in gaming. Mainstream game designers tend not to question a norm, and they rarely rock the boat by refusing to carry out a questionable storyboard handed down to them by predominantly white hands from above. Most game designers I come across have less creative imagination than Rufus my Irish Setter, not to mention a much poorer sense of loyalty and the inability to lick their own genitalia. Video games have always followed movies in characterisation, and they are painfully stiff with stereotypes. Historically, lazy, myopic creatives have allocated blacks four roles - the violent black, the servile black, the sidekick black and the comedy black. I am removing sports games and music games from my list, since they exhibit no imagination whatsoever, but simply copy real people from the real world, unless you happen to be Daley Thompson or Michael Jackson, of course. The blame for all this lies squarely with the course leaders who purport to teach video game creation in universities and colleges. I have never met a creative course leader who is darker skinned than me, and I'm a sort of mottled puce. They may well instruct their students to bung in a character of the negro persuasion as if to fill some sort of racial minority quota, a bit like when those tv adverts suddenly started to feature blacks doing non-traditional things. Like working in building societies, and driving new cars. The change is coming through the independent video game creators, the so-called home-brew developers, and the change had begun in the UK way before the Black Lives Matter movement gathered such momentum. Creative change always comes from the mavericks and rarely from the corporates. As for the people who play the games, next time you come across a racial stereotype you know what to do. Take a knee. To the groin of the writer, programmer and publisher. The Death of Letitia, from Deus Ex: Human Revolution Click HERE to visit or return to jeeni.com

07
Apr

Naëve on Music, Performing and Life during 2020

Having described herself as an outcast in life and the music world we ask Naëve what have been the key challenges and new opportunities and ventures that would have never otherwise have been possible. We asked her to tell us about her experiences over the last year whilst we count down to Jeeni’s online JAM festival. Naëve is a project born at the beginning of 2019 as a rebellion against all rules and constrictions that keeps us into our ‘tiny given little boxes’ since birth. As for the film ‘Big Fish’, my fishbowl started to feel a little too tight, I needed a bigger one for myself. Labelling and categorising everything, has always been something I refused to comply to since I remember. I’ve always been an outcast, in life and in the music I write and for this, I haven’t been always understood. Felt horrible for a while but, in time, I got that people use to fear what they do not understand, they fear change and what is new so, I made sure to be clearer and clearer for them in time. To my surprise, more and more people started to get closer. I decided to keep the influences and ditch the genres, even following an emotional and logical tie to every single one of the genres that I rework in my music. This brand new fusion sub-genre that I would call ‘Retro Groove’, is based pretty much on writing what comes to mind, binding the genres together and following simple melodic similarities. With what concerns lyrics writing, instrumentals is what inspires me. I believe that music in general, is an identification of feelings, emotions that often differ very distinctively from each other, other times, instead, they layer up so, when I write lyrics, I first listen carefully to the musical part, until it makes me feel something or leads right back to specific memories. Then I write about that. Because I never pretend to be the Diva that I am not, what you find in my songs is exactly what I would say to you if I ever meet you in person. No filters, no beating around the bush, pretty much "what you see (or hear) is what you get". I am at a point in my life that I genuinely don’t care about what others may think or if I say something in a way, I may offend someone. I’m living my freedom happily and this, I believe, is why I can write my songs in ways that have never been done before. I’m not the kind of person sugarcoating thoughts or happening, I try to make them feel sweeter and more bearable because, all in all, life is never like the cover of VOGUE. Also, more often than not, real heroes are the ones who are left unsung. I will sing and about them. I will celebrate them. Even before my first release, the project caught the attention of several labels. Despite lockdown restrictions, I have already signed a record deal with an international indie label, been proposed other two record deals and two publishing deals and received very much support from Blogs, pluggers, radios and so on. My fan base has started to grow steadily and I cannot be happier. For the ‘big sound’ you can hear in my songs, you might think that a whole orchestra or something of the sort has been recorded in it. Truth is, that I work together with an incredibly talented producer (and boy, oh boy if I am picky with producers) that manages everytime to get in my head and help developing the initial idea according to the inputs, lines and melodies I give to him. For that very reason, I thought to be a good idea to involve a basic big band, usually, because big bands are pretty big so, I needed to recreate that studio sound live but without exceeding the number of players on stage. We are 11. One of my unreleased songs has even got us into the Yamaha Boogie & Blues future stars competition finals, that was our very first live gig with this project, then the World shut down, exactly two days before the finals. That was scary, a new born project could have collapsed at any time. When a project is that new, without the chance of playing live shows, it becomes very difficult to grow a proper fanbase. ‘Joy’, my first single release, has been extremely risky to put out. The willingness for people to change is always extremely hard to achieve and I was very concerned about that. I’m saying this because ‘Joy’ is a Gospel song, a genre that has always mostly been kept within Church doors. I took a leap of faith and... It worked. Many brothers and sisters from Evangelic Communities around the World started to show their curiosity and support and it absolutely felt like winning the Euro Million!! The idea before ‘Joy’ was something between the lines: ‘Wow, Gospel music is such beautiful uplifting music of hope, let’s bring it to everyone. That was the reason behind this song. Thinking about it now, I feel very happy about how everything is progressing, mainly seeing how much interest people are having in my music. I decided to continue to write during the lockdown and between them, when was possible and safe to go recording, I decided to continue and work about the messages that I want to pass to my supporters and so ‘L.A.M.E.’ was born. Feminism is quite present in my work and more than ever is a concept, a way of life that needs to be supported today. Sometimes, I really believe that there has been a strong regression regarding how women are perceived in society and in the Music Industry. It seems, somehow, that very often women are seen as something that has to be used, not cherished. Thanks also to my upbringing (and to Madonna’s music), I understood that my value is decided by me, not everybody else and nevertheless by men (I don’t hate you, fellas, calm down) and that my life belongs to me and me only, I’m the only one who calls the shots end of story. So, L.A.M.E. was born after a date gone wrong. The kind of date that starts well and ends terribly wrong...you know the feeling. That ended wrong because sometimes, when people can’t get what they want, they can be incredibly mean and they aim to target your self-esteem attempting to decrease your value. I didn’t let him. I wrote a song about the whole story. It’s an empowering song, for all women who have ever felt ‘not enough in their relationships, psychologically manipulated by ‘supposedly’ their better half. Sometimes, people take advantage of our vulnerability to enforce their beliefs, it never ends well. The message that I would give is that you only know your value, don’t let anyone get to you, you are much more than that!! You can go out without makeup, without expensive clothes or cars, villas, a tan or a size 6 and a DD cup, because when you smile, all of a sudden the world stops. That is your strength as a woman and your beauty. You decide for your life, your happiness and yourself. Being very open-minded, I learned to know people at their true value and not the label been given to them and also, I can’t stand injustice of any kind. I want to channel this empowering message also to the LGBTQ+ Community. The reason behind that is that I have always been surrounded by friends from the Community and some of them are among my best friends ever so, indirectly, I lived their struggle through them on how people are perceived in society. Is embarrassing how, still in 2021, we cannot still be understanding enough to leave people the freedom to live a happy life while feeling comfortable and loved in their own skin. Then the idea for the video of L.A.M.E. was born. I’ve been lucky enough to cast two incredible actors from the Community that are very successful artists, then the idea to interchange roles and to show that there is not fear in beauty and that doesn’t matter what ‘form’ you get, your true beauty always shines. Another risky project, that bore the fruits I was hoping for and here we are. The video has been watched more than 6k times within 4 months time (thanks to this platform as well as Youtube and Vevo) and liked/voted more than 3k times so, really glad with the results. From the live side, during the lockdown, I had the opportunity to collaborate with Hot Vox in support of War Child UK and I was very honoured to be part of this crowdfunding campaign, as it helped to raise money for children and their families hit by war all over the World. I believe there will be more of these charity events for Naëve once it will be safe again to play live. The collaboration with Hot Vox continued with an online ‘Listening party’ that will be available to watch from the 21st of April from this link https://hotvox.co.uk/event/naeve-listening-party/ Plus a funny interview I did for them so, I believe is something you really want to watch. You know, when life gives you lemons..... I started to learn to play other instruments during the lockdown as well and I am quite a confident player now. Also, I will be shortly in the studio for my 3rd official release, so, I will be in ‘planning mode’ for a while plus, a brand new music video and after, the tour. The very first tour for Naëve since the project was born so, pretty excited and feeling blessed for what is coming. Naëve will also be performing in the JAM festival which is a collaboration between Jeeni, AmplifyX and MultiView Media and will be held at 12 noon Los Angeles time, 8pm London time on Saturday, April 10th 2021. To find out more about the JAM Festival check out our events on Facebook. https://fb.me/e/1etPauFMV

03
Dec

Weekly Round-Up # 5

The latest news on all things Jeeni, music and entertainment. BRITs announce the shortlist for the ‘2022 Rising Star Award’ Last year, the shortlist saw a vibrant and colourful shortlist consisting of Coventry rapper Pa Salieu, experimental electropop sensation, Rina Sawayama and finally the victor, Griff, a master in emotive pop songwriting. This year, a trio of female powerhouses makes up the shortlist, each with a distinct and remarkable display of strengths; Lola Young tends to leave space in her compositions for the raw power and emotional impact of her voice to shine first and foremost, whereas, Bree Runway takes a more bombastic, loud-and-proud approach with her floor-filling hip-hop bangers. Holly Humberstone, perhaps the most known here, seems to combine parts of both Lola’s vocal precedence and Bree’s grandiose and full instrumentals to make well-rounded pop hits. An exciting and promising collection of British artists, one of which are destined to join the ranks of previous prestigious winners including Adele, Florence + The Machine and Sam Smith. 64th Grammy Nominees Announced Speaking of nominees, the Grammy 2022 nominations were announced last week, featuring both safe and some daring inclusions. Jon Batise featured all over this year’s nominations list for his uplifting and soulful RnB sound. From record and album of the year to Best Contemporary Classical Composition, Batiste was in total nominated 11 times. At Jeeni, Keithian features a similar sense of joy and jubilation in his RnB style. Check out Keithian’s page on Jeeni: https://jeeni.com/?s=keithian Billie Eilish and her producer brother, Finneas also featured across many of the categories this year for their album ‘Happier Than Ever’. Other pop album nominees include Justin Bieber, Olivia Rodrigo, Ariana Grande and Brandi Charlie. Finneas also found himself on the ‘Best New Artist’ category along-side Mercury Award winner, Arlo Parks and cousin of Kendrick Lamar, Baby Keem. If Jeeni were included on the decision-making process, Ariana May, Marley Blandford and Olivia King would certainly be up for some of the year’s best pop performances and releases. Check out Jeeni’s pop channel: https://jeeni.com/channel/all-channels/pop/ Jazz legend, Tony Bennett features several times for his and Lady Gaga’s moving and nostalgic swing album, ‘Love For Sale’ as a respectable nod from The Recording Academy. Record, album and music video of the year are just a few of Bennett and Lady Gaga’s acknowledgments in the 64th Grammys. Check out Jeeni’s jazz channel: https://jeeni.com/channel/all-channels/jazz/ Licensing Leaders PPl and PRS Make Promising Action to Improve Progress on Diversity and Recruitment in The Music Industry Tomi Oyewumi has been enlisted as PPL’s equity, diversity and inclusion (EDI) partner as a step in the right direction to influence the industry towards a more diverse and inclusive future. Tomi explains the meaning of true diversity and the impact PPL could potentially make. “That’s not just for race and gender, but looking at other areas such as social mobility. It’s about how that has an impact on what we do at PPL, but also how we can then use that to influence the wider music industry as well.” PRS hired Colin Campbell-Austin as head of inclusion and employee experience in October. This position is responsible for recruitment, engagement and talent development in PRS. On the PRS website they had this to say about Campbell-Austin, “Throughout his career, Colin has ensured recruitment of diverse talent from all social backgrounds, created first-class inclusive recruitment processes, talent development strategies and leadership and development programmes, with a focus on people, diversity, and inclusion.” More diversity means more representation and experiences expressed in the industry from all corners, resulting in a more colourful and expressive world of music. An exciting development for the industry indeed. Splendour in the Grass, Truck and Download; Just a Few of the Recently Announced Summer Festival Lineups Although governments worldwide are currently assessing the risks of COVID-19 making a much un-welcomed potential come-back, it’s hard not to get excited for the potential wave of epic festivals that we could enjoy in the coming Summer of 2022. Australian festival giant, ‘Splendour in the Grass’ cautiously released their lineup after many reschedules and cancellations due to COVID. ‘Splendour in the Park’ typically showcases homegrown Aussie talent with UK and USA headliners. For 2022, the UK corner, features the previously mentioned Holly Humberstone, Liam Gallagher, Tom Misch and headlining the first evening of the weekend is the all-genre virtual sensation, Gorillaz. The American talent includes SITP veterans, ‘Yeah Yeah Yeahs’, New York rock icons, The Strokes and Tyler, The Creator. Australia’s representatives include the new and promising Genesis Owusu, Tim Minchin and Alice Ivy. Oxfordshire’s ‘Truck Festival’ also announced a star-studded (albeit slightly less varied) lineup for their big weekend in July 2022. Typically featuring an exhibit of the biggest current indie acts with varying levels of something a little harder for those that want it and next year will be no different. The festival promises the likes of Bombay Bicycle Club, Blossoms and Sam Fender alongside the heavier Kasabian, Shame and Dinosaur Pile Up not to mention indie legends, The Kooks. Continuing the increase in heaviness, another massive festival lineup announcement comes from the legendary Donington Park ‘Download Festival’. Headliners, Kiss, Iron Maiden and Biffy Clyro are joined by heavy rock and metal peers such as Korn, Deftones, Megadeth and Black Label Society in a collaboration to deafen the entirety of Leicestershire next June 10th weekend. Jeeni News: Kissing The Flint’s New ‘100 Or Less’ Music Video Success On the weekend, folk-rock act, Kissing The Flint released a dynamic and spirited music video for their equally feisty and powerful new single, ‘100 Or Less’. The video matches the emotional and hopeful message the single holds regarding covid and the arts not getting enough funding. Check out the video now, on Jeeni: https://jeeni.com/100-or-less-kissing-the-flint-official-music-video/ And check out the review of ‘100 Or Less’ here: https://jeeni.com/blog/kissing-the-flint-single-review/ Brand New DarkStarGraver Single Out today, ‘Gohan’ is the newest single from rising Portsmouth rapper, singer and poet, DarkStarGraver. Catchy and bouncy, DSG's newest track is textbook melodic hip-hop. Check it out now. Find out more about DarkStarGraver with our Artist Focus here: https://jeeni.com/blog/darkstargraver-rapper-singer-poet/ Jeeni PCs Still Available after Black Friday Sale! Jeeni has partnered with Chillblast to bring customers exclusive branded PCs designed for musicians and creatives. Chillblast is the UK’s Most Awarded PC Manufacturer. Find out more about Chillblast here, and discover why Jeeni has partnered with Chillblast to bring Special Edition music PCs with exclusive Jeeni branding. As well as a year’s subscription to the Jeeni Platform with each order worth £85. Chillblast Jeeni PCs are perfect for all musicians and creatives, whether you’re an independent bedroom pop artist or a music producer working on the next number 1 one single. Get the best deal on music PCs with our black Friday 2021 offer. Buy your Jeeni Music PC built and warrantied by the UK’s most awarded PC manufacturer here: https://www.chillblast.com/celebrity-pcs/jeeni-pcs. Jeeni Is Looking for You to Join Our Team! We are currently offering the roles of Sales Executive and Senior Developer as a part of the governmental Kickstart scheme and these roles are for ages 16-24 and on Universal Credit. We are also offering a sales internship for university students trying to get experience during their education. For more information, visit: https://uk.indeed.com/jobs?q=jeeni&l&vjk=a9b44f31a3321877 We look forward to hearing from you!

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