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If viral TikTok songs like Dr. Dog’s “Where’d All the Time Go?” or Bo Burnham’s “Bezos I” weren’t already stuck in your head on loop, now they could be. Today SiriusXM launched a TikTok Radio channel, which features TikTok creators as channel hosts. The station is designed to sound like a “radio version of the platform’s ‘For You’ feed,” Sirius XM said.
SiriusXM, parent company to Pandora, announced this music channel in May, teasing the launch with curated Pandora playlists from influencers like Bella Poarch, whose lipsync video of Millie B’s “Soph Aspin Send [M to the B]” is the most liked video on TikTok.
With its TikTok partnership, SiriusXM is looking to capture a younger audience — on the TikTok app itself, DJ Habibeats (@djhabibeats) and DJ CONST (@erinconstantineofficial) will each go live on TikTok each week while DJing on TikTok Radio. Other creator hosts on TikTok Radio — like Billy (@8illy), Cat Haley (@itscathaley), HINDZ (@hindzsight), Lamar Dawson (@dirrtykingofpop) and Taylor Cassidy (@taylorcassidyj) — will deliver “The TikTok Radio Trending Ten,” a weekly countdown of songs trending on TikTok. To promote the station during its first week, artists like Ed Sheeran, Lil Nas X and Normani will appear on air.
Music has such a strong footing in TikTok culture that it regularly influences the Billboard charts — Fleetwood Mac’s “Rumours,” originally released in 1978, appeared in the top 10 Billboard albums again in 2020 after it was featured in a viral TikTok. Even a Fortnite-themed parody of Estelle’s “American Boy” — originally uploaded in 2018 to YouTube — had a beautiful moment on TikTok.
“We’re so excited to launch TikTok Radio on SiriusXM, which opens up artists and creators like this amazing group of hosts to new audiences,” said Ole Obermann, TikTok’s global head of Music, in a statement. “Now SiriusXM subscribers will have a new road to discover the latest trends in music and get a first listen to tomorrow’s musical superstars. The channel captures song-breaking music culture that creates so much joy and entertainment on TikTok through video in an all-audio format.”
Though SiriusXM’s subscriber base continues to expand — it saw a 34% year-over-year growth from last year to now — it still dwarfs in comparison to streaming giants like Spotify, which has 165 million paid users. SiriusXM reported a total of 34.5 million subscribers as of Q2 this year, the most it’s ever had, but even Apple Music and Amazon Music have reported nearly double the subscribers. Pandora has 6.5 million paid subscribers. Over the last few years, SiriusXM and Pandora have struck deals with companies like SoundCloud, Simplecast and Stitcher to become more competitive in both music and podcast streaming.
Still, other streaming companies have also shown interest in the market of Gen Z-ers on TikTok who want to listen to full versions of the catchy songs they hear in short videos. Apple Music and Spotify both host curated “viral hits” playlists. But a full-time satellite music channel is taking the trend a step further.
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SiriusXM is leaning into TikTok. The satellite radio company and Pandora parent today announced a partnership with the social video platform to power several new initiatives, including a TikTok channel on SiriusXM, hosted TikTok playlists on Pandora and re-airings of Pandora LIVE events on TikTok.
The hosted playlists on Pandora are the first of the new initiatives to launch.
Starting today, popular TikTok creators will curate, host and promote their own Pandora playlists to their fans on TikTok, starting with Bella Poarch. The TikTok influencer, who now has 69.6 million followers, is best-known for her viral lip-sync video to “M to the B,” which blew up to become the most-liked video on TikTok. She also makes videos featuring singing, dancing and gaming content, among other things, and this month released her first single, “Build a B*tch,” which has broken into Spotify’s U.S. and Global Top 50 charts.
As of the time of writing, Poarch’s TikTok announcing her playlists, launched four hours ago, has 187.6K likes and 1 million views.
Image Credits: SiriusXM
Other “TikTok Tastemakers,” as SiriusXM has dubbed them, will release their own playlists in the months to come, including Christian Shelton and Nick Tangorra.
In addition, Pandora users will be able to tune into the TikTok Hits Playlist at any time, which features popular and trending songs from TikTok.
Pandora is not the first music streamer to tap into TikTok’s influence for its own ends. Today, TikTok’s trends are driving songs up the Billboard charts and delivering Spotify streams as younger users look for their favorite TikTok songs on their preferred streaming music app. Spotify is now curating TikTok hits across editorial playlists like Viral Hits, big on the internet, Teen Beats and others. Apple Music also got in on the TikTok action when it introduced 10 new playlists last year aimed at younger, Gen Z users. This included its own Viral Hits playlist, which pulls in top tracks from TikTok and other social media channels.
Among the other SiriusXM initiatives is the soon-to-launch TikTok Radio, a full-time music channel featuring tracks trending on TikTok, which will be presented by TikTok creators, influencers and DJs. The channel will debut later this summer, and will stream across SiriusXM, including in vehicles as well as in the SiriusXM app for desktop, mobile and connected devices.
TikTok fans will also later be able to watch selected re-airings of Pandora’s original events series, Pandora LIVE — a continuation of Pandora’s live events that went virtual during the pandemic. Pandora LIVE events feature artists from across genres, including country, rock, pop, R&B and more, and have typically been re-aired, in part, the day after on SiriusXM.
Recently, Pandora LIVE celebrated Women’s History Month with a virtual event that included performances by Gwen Stefani and Jazmine Sullivan, which was re-aired on TikTok.
More Pandora LIVE events will soon do the same. SiriusXM says it will announce which events will re-air on TikTok throughout the year.
“We are excited to collaborate with TikTok to create new content that brings the vibrancy of the leading social networking service to life on live radio and our streaming platforms,” said Scott Greenstein, SiriusXM president and chief content officer, in a statement. “The effect TikTok has on music, and pop culture in general, is undeniable. Our platforms will provide a unique opportunity for TikTok creators to engage with our listeners with content experiences that have never been done before in audio,” he added.
@bellapoarch Excited to help launch ##TikTokTastemakers on @pandora
Listen exclusively on ##PandoraMusic♬ Build a B*tch – Bella Poarch
SiriusXM’s move to partner more closely with TikTok could help it attract a younger set of listeners and subscribers, who may follow their favorite fans over to Pandora to tune into their playlist content. However, it’s unable to benefit from the full impact that working with TikTok could bring as the integrations are split across its two services, instead of being focused on just one.
Plus, SiriusXM, like others, still faces the looming threat of Resso, TikTok owner ByteDance’s own music streaming app that could one day make its way to the U.S. as part of its global expansion efforts. It has the potential to more closely tie TikTok’s music discovery features with streaming, impacting demand for rival services.
For the time being, however, TikTok sees the potential in partnering with a U.S. music streamer.
“We are excited to work with SiriusXM on TikTok Radio and to bring TikTok creators to Pandora to make the trends, music, and creative influences that are playing such a defining role in modern culture even more accessible,” said TikTok’s Global Head of Music, Ole Obermann, in a statement. “We’re really excited to see this come to life and thank the SiriusXM team for being such an innovative and visionary collaborator,” he said.
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SiriusXM today completed its previously announced $325 million acquisition of podcast platform Stitcher from E.W. Scripps, and has now launched Stitcher’s podcasts on Pandora across all tiers of the streaming service. The deal brings top Stitcher titles to Pandora, including “Freakonomics Radio,” “My Favorite Murder,” “SuperSoul Conversations from the Oprah Winfrey Network,” “Office Ladies,” “Conan O’Brien Needs a Friend,” “Literally! with Rob Lowe,” “LeVar Burton Reads” and “WTF with Marc Maron,” among others.
On Pandora, the podcasts will be indexed using the company’s proprietary Podcast Genome Project technology. This system leverages automated technology — like natural language processing, collaborative filtering and other machine learning approaches — then combines that with human curation to make personalized recommendations to podcast listeners on Pandora’s app.
The podcasts will also continue to be available in the Stitcher app in North America, the company says.
The Stitcher acquisition brought with it several key assets, including its own mobile listening app, which includes a premium tier of exclusives, and the Midroll Media network for podcast advertising. Stitcher also creates its own original programs and runs multiple content networks, via Earwolf.
That means SirusXM gained thousands of top podcasts with the deal’s closure. The company also now claims it has the “largest addressable audience in North America” across all categories of digital audio, including music, sports, talk and podcasts thanks to the combination of satellite radio service SiriusXM, streaming app Pandora and now Stitcher.
The company believes the deal will help it attract more creators to its platform, thanks to the enhanced production, marketing and distribution capabilities it offers, following the deal’s close. Advertisers, meanwhile, will be able to more precisely target podcasts for better ad efficiency, and will gain access to improved measurements, says SiriusXM.
In terms of Stitcher’s execs, CEO Erik Diehn will now report to Scott Greenstein, president and chief content officer of SiriusXM, who also oversees content at Pandora. Stitcher’s chief revenue officer, Sarah van Mosel, will report directly to John Trimble, chief advertising revenue officer of SiriusXM.
“We are deepening our position in podcasting, the fastest-growing sector in digital audio, and with completion of this transaction, our vision is taking shape,” said SiriusXM CEO Jim Meyer, in a statement about the deal’s completion. “With Stitcher and its varied assets, we are now a one-stop shop able to meet the needs of podcast creators, publishers and advertisers, while also providing listeners with access to great shows, series and programming.”
Despite the coronavirus pandemic, which disrupted many consumer trends and accelerated others, podcasting still remains one of the fast-growing digital audio industries. Podcast downloads returned to pre-COVID levels this summer, and Spotify reported that podcast consumption more than doubled in Q2, and nearly a quarter (21%) of its active users now listen to podcasts.
Stitcher was not SiriusXM’s first acquisition focused on podcasts or ad technologies. It also bought podcast management platform Simplecast this June, and before that, it acquired AdsWizz for $66.3 million to power Pandora’s advertising efforts.
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Pandora is launching interactive voice ads into wider public testing, the company announced this morning. The music streaming service first introduced the new advertising format, where users verbally respond to advertiser prompts, back in December with help from a small set of early adopters, including Doritos, Ashley HomeStores, Unilever, Wendy’s, Turner Broadcasting, Comcast and Nestlé.
The ads begin by explaining to listeners what they are and how they work. They then play a short and simple message followed by a question that listeners can respond to. For example, a Wendy’s ad asked listeners if they were hungry, and if they say “yes,” the ad continued with a recommendation of what to eat. An Ashley HomeStores ads engaged listeners by offering tips on a better night’s sleep.
The format is meant in particular to aid advertisers in connecting with users who are not looking at their phone. For example, when people are listening to Pandora while driving, cooking, cleaning the house or doing some other hands-free activity.
Since their debut, Pandora’s own data indicated the ads have been fairly well-received, in terms of the voice format; 47% of users said they either liked or loved the concept of responding with their voice, and 30% felt neutral. The stats paint a picture of an overall more positive reception, given that users don’t typically like ads at all. In addition, 72% of users also said they found the ad format easy to engage with.
However, Pandora cautioned advertisers that more testing is needed to understand which ads get users to respond and which do not. Based on early alpha testing, ads with higher engagement seemed be those that were entertaining, humorous or used a recognizable brand voice, it says.
As the new ad format enters into beta testing, the company is expanding access to more advertisers. Advertisers including Acura, Anheuser-Busch, AT&T, Doritos, KFC, Lane Bryant, Purex Laundry Detergent, Purple, Unilever, T-Mobile, The Home Depot, Volvo and Xfinity, among others, are signed up to test the interactive ads.
This broader test aims to determine what the benchmarks should be for voice ads, whether the ads need tweaking to optimize for better engagement, and whether ads are better for driving conversions at the upper funnel or if consumers are ready to take action based on the ads’ content.
Related to the rollout of interactive voice ads, Pandora is also upgrading its “Voice Mode” feature, launched last year and made available to all users last July. The feature will now offer listeners on-demand access to specific tracks and albums in exchange for watching a brand video via Pandora’s existing Video Plus ad format, the same as for text-based searches.
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Podcasting continues to see a strong trajectory in the world of streamed audio content, and today comes the latest development on that front. SiriusXM, owner of Pandora and backer of SoundCloud, said that it is acquiring Simplecast, a podcast management platform used by creators to publish and distribute podcasts, and subsequently analyse how they are consumed. SiriusXM plans to integrate Simplecast with AdsWizz, a digital audio advertising company that it acquired in 2018 for $66.3 million in cash plus shares to power ads on Pandora .
The company is not disclosing any of the financial terms for the Simplecast acquisition but we have asked and will update if we learn more. As a startup, New York-based Simplecast, which will continue to be led by its founder and CEO Brad Smith, had raised a modest $7.87 million in funding from investors since launching in 2013, per PitchBook data.
The deal is interesting because it is bringing one of the more popular independent platforms and set of tools used by streamers under the wing of a platform. Simplecast’s many podcasts and users today include Armchair Expert with Dax Shepard, Netflix, Maximum Fun, Cloud10, QCODE, Anna Faris is Unqualified, Blue Wire, Revision Path and (disclaimer) TechCrunch, who use it to distribute content over multiple, and sometimes competing, networks, including Apple, Spotify, Google and Overcast. (Business plans currently range in price and start at $15/month and go up to $85/month or more depending on podcast size, number of users and features that you need.)
Pandora (with help from SiriusXM, which has a large and popular stable of talk radio shows on its channels) has been building up its own spoken-word content, of course, so there is a direct opportunity to push more on-demand podcasts to that platform in particular, as well as offer more interesting terms for doing so, as well as bring in a much wider spectrum of podcasts to run AdsWizz’s inventory, which currently is seen by more than 100 million people each month across the U.S. and Canada (SiriusXM’s and Pandora’s footprint in vehicles, online and more).
We have asked SiriusXM if the plan will be to keep all of Simplecast’s services as-is after the deal closes.
What’s clearer is that, with SiriusXM also making a key investment in SoundCloud last year, the company is — like Spotify (which acquired a Simplecast competitor, Anchor, last year) — building up its music-business tools to complement its position as a content provider: This is a key role to play in the brave new world of digital music, where monetisation remains a challenge for most, and the tools to distribute, analyse and (yes) monetise one’s creative content continue to get more sophisticated, so much so that getting that part of the equation right can make or break an artist or wider creative or media endeavour.
“Our goal is to provide audio publishers with state-of-the-art platforms and give them everything they need to be successful,” said Alexis van de Wyer, CEO of AdsWizz, in a statement. “Empowering podcasters of any size to create, distribute, analyze, and monetize their work is the next natural step in pursuing our vision.”
“From the beginning, Simplecast’s mantra and mission was to remain laser-focused on podcast creators – building the best tools for publishing and insights,” said Brad Smith, the founder & CEO of Simplecast, in a statement of his own. “The opportunity and alignment with AdsWizz allows our product — and our customers — access to a powerful monetization platform. Two best-in-class platforms are now able to align with the shared mission of helping publishers succeed, while each team continues to focus on their respective areas of expertise.”
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After teasing the launch of their new startup last year, e-commerce veteran Julie Bornstein and her technical co-founder, Amit Aggarwal, are today launching The Yes, a women’s shopping platform that they’ve been quietly building for 18 months and they say will create tailor-made experiences for each user, courtesy of its sophisticated algorithms.
Bornstein’s experience and vision alone attracted $30 million in funding to the venture last year from Forerunner Ventures, New Enterprise Associates and True Ventures, among others. To learn more about how it breaks through in a world rife with e-commerce companies, we talked with Bornstein, who previously spent four years as COO of the styling service Stitch Fix and before that spent years as a C-level executive at Sephora. We wondered specifically how The Yes differs from Stitch Fix, given that both companies use data science to discover clothing for shoppers based on their size, budget and style.
Aside from the fact that The Yes is taking an app-only approach (unlike Stitch Fix), and doesn’t have a subscription model, Bornstein says that The Yes is very much focused on people “who want to shop” versus those who want their shopping done for them. Yet that’s just the start of what makes The Yes different than its other predecessors, said Bornstein in a conversation that follows below, edited lightly for length.
TC: You’re building what you call a store around each user, who downloads the app, answers questions that provide a lot of “signal” about that person’s style and brand preferences and size and budget, and that’s adaptive, meaning the algorithm is always re-ranking products as it learns better what a person likes. What demographic are you targeting?
JB: It’s women of a very broad age range, from 25 to 75, who care about fashion, whether they’re an in-the-know-on-everything fashionista or they just want to look great. And you can shop high/low, which is how most women shop these days. So it depends what you’re looking for.
TC: It sounds like you’re selling women’s apparel exclusively to start. Are you also selling handbags? Jewelry? Accessories?
JB: We’re focused on fashion and footwear, and we have accessories and handbags. A lot of our brands have great handbags. Then we will be expanding more to jewelry and other accessory categories over time.
TC: What brands can shoppers find on the platform?
JB: We have 145 brands at launch, ranging from Gucci, Prada and Erdem to contemporary brands like Vince and Theory to direct-to-consumer brands like Everlane and La Ligne to everyday brands like Levis. When a brand integrates with The Yes, the platform sells each brand’s full digital catalog.
TC: Why go app only?
Most of the e-commerce sites that have mobile presence really feel like a website converted to a small screen. We [thought if we] challenged ourselves to leverage the technology of the native app environment, [we] could build a much slicker experience for the user. We also know that mobile is growing. It’s about 50% of total purchases now in fashion and growing faster, so while we know that web will be important to add, we really felt like mobile and iOS were the places to start.
TC: Stitch Fix uses machine learning to analyze customer tastes, but it ultimately relies on human stylists to choose items. What new advances have been made in AI that can allow The Yes to actually pick products using artificial intelligence? Isn’t fashion, like music, a “noisy” problem, with consumers often not knowing what they want?
JB: It’s such a nuanced area and really hard to do in the form of recommendations, but there are a number of reasons that enable us to do it. One is we had to build the most extensive taxonomy that exists in fashion. We did think a lot about the music genome project that Pandora did and all the work that Spotify has done. Music is definitely one of our inspirations. And if you look at what they did, they had some human expertise in the beginning, creating these categories, and then the machine learned on top of it, and we have done the same in fashion. So we had fashion expertise build our initial taxonomy.
Then we leveraged both machine learning and computer vision to train models to understand how to absorb all pieces of data related to a product, as well as the image itself and how to read images. And it gave us a really strong understanding of 500 dimensions for every single item. [Meanwhile] to understand what the consumer cares about, we spent a lot of time testing and learning which questions [to ask] when it comes to brand and price and things like color and style and size and fit…
TC: Because of your background, comparisons are probably going to be made between The Yes and Stitch Fix. What was the impetus for this new business? Was it a matter of eliminating that personal touch?
JB: I had such a great experience at Stitch Fix, and I’m still a shareholder and a big fan of the company and the team. And I think what they’re doing, what they continue to do, is terrific in really pushing the boundary on this concept of shopping-as-a-service.
What I am working on, and our team is really focused on, is the actual consumer shopping experience for consumers who want to shop. There’s a strong percent of the population who really loves to shop and wants agency in their own selection, and that is really the consumer we’re going after.
TC: You’re launching with roughly 150 brands. What is your relationship with them? Are you taking a cut of a transaction? Are you ever taking possession of their products? Do you have a warehouse or warehouses?
There were two things coming into this business that I wanted to avoid based on my personal experience, which was one, owning inventory, and two, reshooting every item for its own new photographs on the site. Pinterest and Instagram and all these other visual sites have shown us that the brands spend a lot of money shooting images to look a certain way to help communicate what their brand is all about. So leveraging those assets has been terrific.
[Regarding inventory], there’s no reason to ship the product from the brand to another warehouse and then to the consumer. We’re cutting out that stuff and shipping it direct from the brand. From a consumer standpoint, you order on our app, and everything is one-click, and you are charged by [us]. But then the order is placed through the brand and is shipped from the brand to you. Then we will communicate to you when it’s shipped, when it’s arriving, and if you have any customer service issues, we take care of it.
And we take a flat commission [on sales].
TC: Returns are free. But isn’t that a huge cost center, and might it deter people from returning items if you charged something for returns?
JB: My feeling is that free shipping and free returns is a baseline requirement to offer a great service. And it’s our job to help match [shoppers] to product that you’re not going to return. We have an enormous goal to have the lowest return rate in the industry. It will obviously take us some time to get there. But we believe that by making sure that we understand what works for you and what doesn’t, we can get [there].
TC: You raised $30 million last year. Are you in the market for a Series B? What will you have to show investors toward that end?
JB: The logic behind the dollar amount that we raised was: how much do we need to build what we want to build, and then bring it to market and get traction? And so that is our goal that starts tomorrow. . .
TC: How has this current reality altered your plans? Launching during a pandemic isn’t what you were imagining, obviously.
JB: No, it is not. [Laughs.] I don’t know that any of us could have possibly. We did delay our launch; we were originally launching in March, and once COVID hit, we needed to make sure we could see straight and understand the impact. I think as time has passed, we have felt more and more compelled to get out there to help our brands, all of whom are feeling the impact of the retail stores closing, or orders being canceled by their retail partners. They’re all businesses and many of them small businesses, so we want to help them.
It’s also an interesting time because we all need a little bit of levity and escape. And the app really is a fun escape.
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Pandora has begun to test a new type of advertising format that allows listeners to respond to the ad by speaking aloud. In the new ads, listeners are prompted to say “yes” after the ad asks a question and a tone plays. The ads will then offer more information about the product or brand in question.
Debut advertisers testing the new format include Doritos, Ashley HomeStores, Unilever, Wendy’s, Turner Broadcasting, Comcast and Nestlé.
The ads begin by explaining what they are and how they’ll work. They then play a short and simple message followed by a question to which listeners are supposed to respond.
For example, the Wendy’s ad asks listeners if they’re hungry, and if they say “yes” the ad continues by offering a recommendation about what to eat. The DiGiorno’s pizza ad asks listeners to say “yes” to hear the punchline of a pizza-themed joke. The Ashley HomeStores ad engages listeners by offering tips on getting a better night’s sleep. And so on.
The new format capitalizes on Pandora’s underlying voice technology, which also powers the app’s smart voice assistant, Voice Mode, launched earlier this year. While Voice Mode lets Pandora users control their music hands-free, the voice ads aim to get users to engage with the advertiser’s content hands-free, as opposed to tapping on the screen or visiting a link to get more information.
The company believes these types of ads will be more meaningful as they force listeners to pay attention. For the brand advertisers, voice ads offer a way to more directly measure how many people an ad reached — something that’s not possible with traditional audio ads, which by their nature aren’t clickable.
Pandora announced its plans to test interactive voice ads back in April of this year, initially with San Francisco-based adtech company, Instreamatic. At the time, it said it would launch the new format into beta testing by Q4, as it now has.
The ad format arrives at a time when consumers have become more comfortable talking to digital voice assistants, like Siri, Alexa and Google Assistant. There’s also an increased expectation that services we interact with will support voice commands — like when we’re speaking to Fire TV or Apple TV to find something to watch or asking Pandora or Spotify to play our favorite music.
But consumers’ appetite for interactive voice advertisements is still largely untested. Even Amazon limited voice ads on its Alexa platform for fear of alienating users who would find them disruptive to the core experience. Spotify also ran a limited test of voice ads this year.
In Pandora’s case, users don’t have to play along. The company says if the user doesn’t respond within a couple of seconds or if they say no, the music resumes playback.
Pandora says the ads will begin running today for a small subset of listeners using its app.
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Pandora is doubling down on personalization and revamping its app in order to better compete with rivals like Spotify and Apple Music. Today, the company is introducing a new mobile experience that includes a dedicated “For You” tab where a continually updated feed of content is presented to users, including both music and podcast recommendations (and more). This content is personalized to the individual, based on factors like the day of the week, the time of day and Pandora’s predictions about your mood, among other things.
The new personalized feed will also help the company to better showcase more of its exclusive content — like its music-and-podcast combos, called “Pandora Stories,” for example. Or the dozens of SiriusXM talk shows that became Pandora podcasts following its acquisition.
“Our listeners have told us that they love the utility of Pandora — it’s drop-dead easy, it works, it knows me, it’s really simple,” explains Pandora’s Chief Product Officer Chris Phillips. “But what they haven’t been able to understand and have easy enough access to is all the content and programming that we have available on Pandora — the new content, new programming and the unique content that you can’t get other places,” he says.
The For You tab aims to change that by turning Pandora’s personalization capabilities onto its broader catalog and exclusives, then crafting a scrollable feed with dozens of ways to listen.

Here, you’ll be able to tap into Pandora Modes, for example, which is a new way to listen to Pandora Stations. The feature was previously available on the web, and has now come to mobile for the first time with today’s launch.
Pandora Modes let you toggle between ways to customize your stations. You can opt for modes that will tweak the station to play things like the most popular songs (“crowd faves”), the deep cuts, new releases, artist-only tracks and more. You also can opt for a “discovery” mode to have Pandora introduce you to new artists you may like, as related to the station in question.
Another section in the For You tab lets you browse by categories, including genre, new music, podcasts, moods, playlists, decades and trending.
The “Moods & Activities” section, meanwhile, will present collections of music based on current trends — for example, one of the available “moods” is “fall,” and another could be “rainy day,” matched up with the day’s weather. You also can dig into this section for moods to match your activity, like workout, gaming, studying, family time and more.
As you scroll down the For You page, you’ll come across your podcast recommendations and personalized playlists. And Pandora can create some 80 different versions of the latter, which include playlists by moods, activities, genres and more, all powered by its Music Genome.
Plus, the combined Pandora and SiriusXM editorial team of around 25 creates hundreds of human-curated playlists, too.

In total, there are some 35 different modules in Pandora’s new For You feed, some of which are shown to every user while others appear dynamically based on time of day and day of week. Its suggestions will also be tailored to your own likes and interests, thanks to your own listening behavior and explicit signals, like thumbs up and thumbs down.
That means your For You tab will be unique to you, and you can later be targeted with specific promotions — like the content to emerge from that deal between SiriusXM/Pandora and Drake, for example, if relevant to your interests. (Hey, it’s better than that time when Spotify put Drake’s face on every playlist.)
Despite the personalization, the feed will still include some insights powered by the larger Pandora population, so you can see what’s popular and trending more broadly across the service.
In time, Pandora plans to roll out even more modules to build out the experience further.
“100 billion thumbs are what’s powering all this,” adds Phillips, speaking of Pandora’s recent milestone, which measured the number of thumbs up and down clicks from users. Until now, he says, Pandora “hadn’t really brought together the community…and the power of our personalization, but not just for stations — for all the playlists, albums, songs and artists,” Phillips continues. “And then the idea that we lay on top of all of this…the idea of what time of day it is, and what might be interesting based on what we predict your mood is right now,” he says.
The “For You” tab and other features are arriving today on Pandora for iOS and Android.
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Streaming services have made music ubiquitous, driving more exploration by consumers who don’t have to pay for each song or album individually. Musicians are correspondingly able to find their own niche of fans scattered around the world.
(This is the third installment of our EC-1 series on Kobalt Music Group and changes in the music industry. Read Part I and Part II.)
As Spotify gained rapid adoption in his native Sweden in 2006, Kobalt’s founder & CEO Willard Ahdritz predicted music streaming and the rise of social media would increasingly undercut the gatekeeping power of the major label groups and realign the market to center more on a vast landscape of niche musicians than a handful of traditional superstars.
Both of these predictions have proven directionally true. The question is to what extent and how are industry players actually realigning as a result?
What musicians need in addition to the administrative collection of their royalties (explained in Part II) is a menu of creative services they can tap for support. Kobalt’s AWAL and Kobalt Music Publishing divisions provide such services to recording artists and songwriters, respectively, and do so on purely a services basis (getting paid a commission but not taking ownership of copyrights like traditional labels and publishers do).
The whole music industry is growing substantially due to streaming music’s mainstream penetration in wealthier countries and increased penetration in emerging markets.
As the overall pie is growing, the non-superstar segment of the market is indeed growing faster than the superstar segment, taking over a larger portion of industry royalties.
According to data from BuzzAngle, the top 500 songs in the US in 2018 accounted for 10% of on-demand audio streams — a dramatic decline in market share compared to 2017 when the top 500 songs accounted for 14% of streams. Stepping back, the top 50,000 songs made up 73.2% of all US streams in 2017 but that declined to 70.5% in 2018.
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Backed by over $200 million in VC funding, Kobalt is changing the way the music industry does business and putting more money into musicians’ pockets in the process.
In Part I of this series, I walked through the company’s founding story and its overall structure. There are two core theses that Kobalt bet on: 1) that the shift to digital music could transform the way royalties are tracked and paid, and 2) that music streaming will empower a growing middle class of DIY musicians who find success across countless niches.
This article focuses on the complex way royalties flow through the industry and how Kobalt is restructuring that process (while Part III will focus on music’s middle class). The music industry runs on copyright administration and royalty collections. If the system breaks — if people lose track of where songs are being played and who is owed how much in royalties — everything halts.
Kobalt is as much a compliance tech company as it is a music company: it has built a quasi “operating system” to more accurately and quickly handle this using software and a centralized approach to collections, upending a broken, inefficient system so everything can run more smoothly and predictably on top of it. The big question is whether it can maintain its initial lead in doing this, however.
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