Compañías discográficas:
Impulsando el ecosistema de la música

Dentro del dinámico ecosistema de la música de hoy, el papel de la compañía discográfica como el principal inversionista, socio y colaborador con artistas, jamás ha sido tan importante.

33.8%

de los ingresos globales reinvertidos en música anualmente

$5.8mmd

de inversión anual en arte y repertorio; y mercadotecnia

$1.7mmd

invertidos en mercadotecnia anualmente

$4.1mmd

invertidos en arte y repertorio anualmente

Más información

Las compañías discográficas proveen a los artistas
de un apoyo único e inigualable

Artista

Las compañías discográficas pueden proveer al artista con:

Recursos y talento: para reforzar un equipo en crecimiento donde sea necesario
Inversión: para llevar a cabo su visión artística
Habilidades: para enlazarse con los mercados alrededor del mundo
Relaciones: para conectarlos con otros artistas y creadores talentosos
Apoyo: con la creación y grabación de su música
Coordinación global: para ayudar a llegar a sus fanáticos en todo el mundo

Promoción

Los equipos de promoción ayudan a que la música del artista llegue a los fanáticos de todo el mundo

Listado de canciones | Conexión con la radio | Sesiones de fotos
Programación de viajes

Análisis de datos

Los equipos de análisis de datos utilizan métricas como el número de reproducciones y el alcance global para ayudar al artista a tomar decisiones sobre su carrera

Análisis de datos | Alcance de la campaña

Catálogo

Los equipos de catálogo aseguran oportunidades para la música más de 18-24 meses después del lanzamiento

Oportunidades de negocio distintas a la grabación

Los equipos de oportunidades de negocio distintas a la grabación, ayudan a crear y luego vender mercancía del artista en conciertos o a través del sitio web del artista

Directo al consumidor | Mercancía del artista

Arte y Repertorio

A&R (Arte y Repertorio) Se encarga de firmar a los artistas con los sellos discográficos, además de brindar experiencia creativa y comercial, así como apoyo financiero para respaldar la creación musical del artista

Descubrimiento | Grabación | Mezcla | Desarrollo del artista |
Desarrollo de pistas | Repertorio | Estudio de enlace

Asuntos legales y de negocio

Asuntos legales y de negocio colabora con todos los socios en la carrera del artista

Contratos | Asociaciones

Servicios comerciales

Los equipos comerciales son responsables de las ventas de un artista a través de dispositivos físicos y digitales

Ventas físicas | Ventas digitales y streaming | Informes de ventas
Análisis de gráficos y datos

Mercadotecnia

Los equipos de marketing facilitan campañas multimedia que aumentan la presencia del artista dentro y fuera de línea

Publicidad (vallas publicitarias, anuncios de televisión) | Monitoreo de ventas
Lanzamiento de campañas

Sincronización y Negocios Especiales

Los equipos de sincronización trabajan en conjunto con el artista para acordar convenios con marcas afines que reflejen su imagen y enganchen con los fanáticos

Asociaciones de marca | Asociaciones creativas
Oportunidades de sincronización

Producción de video

Los especialistas internos en producción de video colaboran con el artista en todo, desde conceptos de video hasta asociarse con un director

Concepto | Videos Musicales | Contenido de redes sociales

Servicios creativos

Los equipos creativos ayudan al artista a desarrollar su identidad visual y colaborar en cosas como ilustraciones de álbumes y videos musicales

Producción visual | Arte del Álbum | Empaquetado

Publicidad

Los equipos de publicidad hacen crecer el perfil del artista en gran variedad de medios

TV | Apariciones en medios | Sitio web | Medios de comunicación social

Esta profunda red de hombres y mujeres creativos es responsable de ayudar al artista a desarrollarse en cada paso de su trayectoria musical.

Fungiendo como un acompañante que asiste a los artistas lograr el éxito tanto comercial como creativo, una compañía discográfica provee una amplia red de soporte. CPersonas creativas que nutren y desarrollan artistas, ayuda para llegar directamente y conectar con los fanáticos de más formas que antes, en cada paso de su trayectoria musical.

Cómo trabaja un artista con una compañía discográfica / sello

Nuevos modelos y formas de trabajar significan que los artistas tienen mayor flexibilidad y opciones en cómo crear su música a comparación de como ocurría en el pasado.

Aquí hay sólo un ejemplo de una colaboración de un artista con su compañía discográfica.

A&R (Arte y Repertorio)

Los equipos de arte y repertorio firman a los artístas con las compañías discográficas. Son quienes proveen su experiencia creativa y comercial, así como apoyo financiero para la creación musical de los artistas.

Mercadotecnia y Mercadotecnia Digital

Los equipos de mercadotecnia y mercadotecnia digital desarrollan campañas multimedia que permiten el crecimiento de la presencia del artista.

Sincronización y Convenios

Los equipos de sincronización trabajan en conjunto con el artista para acordar convenios con marcas afines que reflejen su imagen y enganchen con los fanáticos.

Distribución Global

Los equipos de distribución global proveen, manejan y monitorean la distribución de la música del artista tanto en formato físico como digital.

Equipos Creativos

Los equipos creativos ayudan al artista a desarrollar su identidad visual y colaboran en elementos como el diseño artístico del album y videos musicales.

Prensa y Publicidad

Los equipos de prensa y publicidad logran asegurar la cobertura mediática del artista en radio y televisión, así como en “playlists”.

Alcance Global

Los equipos internacionales ayudan a acelerar el perfil del artista al llevar su música a nuevos territorios y acrecentando su base de fanáticos.

Artistas

Otras lecturas

Reiniciando el sello discográfico

Prof. Larry Miller (Lectura en inglés)

Un nuevo informe ilustra cómo los sellos discográficos modernos se rehacieron en la era del streaming.

Leer más >

El valor de un sello

IFPI Global Music Report 2019 (Lectura en inglés)

Las compañías discográficas son tanto la chispa como el motor, encendiento y conduciendo la música ...

Leer más >

Compañías discográficas:

Impulsando el ecosistema de la música

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Aya
Nakamura

Case study

French rap finding its global voice

One example of an artist blowing up in her home territory, while also starting her international journey, is Warner France-signed Aya Nakamura.

Born in Mali, Nakamura moved to a suburb of Paris as a baby and grew up immersed in - and influenced by - both cultures. She started making music as French urban music was finding its voice and moving into the mainstream.

Thierry Chassagne, President, Warner Music France, says: “The popularity of French rap was driven in part by streaming, but also by demographics. We have strong Caribbean and African communities here that have been the driving force behind much rap music.

“At the beginning of the [Aya Nakamura] project, especially on the digital aspects, we focused on these communities, before expanding into the wider market.

“It was important to have this community, her community, behind her. She is a very empowered woman, and the idea that somehow the record company could lead the way without tapping into her roots and her fanbase, that she’d built herself, would have been wrong – and would not have worked.”

Nakamura’s first album, Journal intime, was released in 2017, reaching number six in the French charts and achieving Gold certification.

Things moved up a gear for her second, self-titled album, Nakamura – and especially its lead single, Djadja.

Chassagne explains: “It was the perfect situation of the set-up being created by the first album, and then the second album being preceded by such a big hit. Djadja went to number one here in its first week and is the most audio-streamed track by a woman in France so far in 2019.”

Nakamura’s appeal was such that Warner Music drew on its global network and began to look for opportunities for the artist outside of her home country.

Alain Veille, Managing Director of Digital, Warner Music France, explains how Warner was quick to see the wider appeal of her music: “It resonated outside of France very quickly. Our colleagues in neighbouring countries were asking us about her story; they could feel there was something happening.”

Veille describes how his team had early discussions with surrounding territories, helping them kick-start their own campaigns: “The spread of awareness dovetailed with our strategy of establishing a core fanbase in Aya’s community, taking her mainstream throughout France, and then, working with offices on the ground, targeting territories where the buzz was building.”

Recognising each market’s inherent differences, campaigns were tailored to build on Nakamura’s already strong roots, whilst adding a local flavour. Veille describes one example: “In Germany, we recorded a version of Djadja with a female hip-hop artist called Loredana, who shares similar values, and is a strong, independent woman. That version got accepted by the streaming platforms and was added to influential German rap playlists.”

The work paid off. German radio picked up the track, eventually choosing to play the original over the newer, German version.

Djadja has now achieved over 190 million audio streams and 315 million video streams worldwide, and in three territories – Netherlands, Germany and Belgium – the numbers are matching what’s been achieved in France.

Ultimately, Nakamura’s music and ability to connect with her fans, coupled with the support and backing from her label, is allowing her to reach an increasing number of people around the world, as Chassagne explains: “It’s a true collaboration within a global structure. We know the artist very well, so we can contribute that insight and understanding, we bring the artist’s story. And, of course, our colleagues know their territories – their tastemakers, their media, they can recommend collaborations and so the project is amplified globally.”

Case study first published in April 2019.

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George
Ezra

Case study

Authentic UK talent making global waves

George Ezra is undoubtedly one of the biggest breakout UK artists of the last five years. With his distinctive baritone voice and varied musical influences, together with his authentic, honest approach to sharing his music, the Columbia-signed artist has won fans around the world.

Columbia’s Head of Marketing, Alex Eden-Smith, explains how, when first working with Ezra, his musical talent and authenticity formed a key strand of the label’s initial strategy: “It was very important that he wasn’t seen as just another singer-songwriter. He’s an incredibly talented guy with a really distinctive voice; the sole aim had to be to bring that out.”

Ezra’s first single, Budapest, reached No. 3 in the UK charts, and made the Top 40 in the US. The single was followed by Ezra’s first album, Wanted On Voyage, which topped the charts in the UK, broke the Top 20 in the US and went Top 10 in multiple countries. Global sales stood at just over two million in March 2019.

With one album under his belt, and a steadily growing fanbase, Columbia, together with Ezra, began to plan for the follow-up. Staying At Tamara’s, was released in March 2018. It reached No. 1 in the UK where it was also the biggest-selling artist album of 2018.

Eden-Smith describes the approach to the second campaign: “We continued to highlight his personality, his natural wit and irreverence, something that comes across effortlessly in his relationship with his fans.”

It was this desire to allow Ezra’s personality to shine through that led to the idea of developing content that went beyond his music.

“George is a big podcast fan and came up with the idea of producing a series of podcasts where he holds conversations with a range of different musicians (guests included Elton John, Nile Rogers and Ed Sheeran). We were really keen to support him and made it a centrepiece of the campaign. It allowed him to not only get his personality across but also to bring in the fans of other artists and bring them back to his music. It's an engagement loop, if you like.”

Podcasts are just one of the tools in a kit that has had to expand exponentially to meet the demands of a new kind of audience, explains Eden-Smith: “You have to constantly think about the brand-new George Ezra fan who heard their first song yesterday; what’s their experience going to be? For them it’s a discovery, and you have to give them ways of finding out who George is.

“Ultimately, the most important thing for us was to trust George’s instincts — to enable him to create the music he wants to, whilst finding the tools to help him reach a bigger audience. The conversation was never about making him something he’s not, but about celebrating and promoting all the best sides of George.”

Case study first published in April 2019.

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J
Balvin

Case study

Pioneering Latin Music

Trailblazing, Medellín-born, Colombian artist J Balvin has pioneered Latin music’s explosion onto the global stage.

Working in partnership with his record label and manager, Balvin has captured a global audience with his unique sound, both through his solo releases and a string of high-profile collaborations with artists such as Cardi B, Beyoncé and Justin Bieber – all whilst staying true to his Latin roots.

Angel Kaminsky, Executive Vice President, Latin America & Iberian Peninsula, Universal Music, explains how the relationship began: “I first met J Balvin in 2012. I travelled to Bogotá to meet this artist who was big in Colombia and was also starting to create a big buzz in the rest of the region.

“I was immediately struck by his creativity, his artistic ability and his impeccable work ethic. He’s such a genuine person and this translates to his music and even to the vibes he passes on to other artists and, of course, to his fans.”

Working closely as co-managers in partnership with Balvin’s manager, Rebeca León, Kaminsky describes the strategic process behind Balvin’s shift from local favourite to global star: “At first, there was a focus on breaking him in Latin America, Iberia and the US Latin market. We accomplished this with his hit singles Ay Vamos and 6 AM in 2014 and 2015.

“The next step was to push the project on a global scale. This started with lead single Ginza [from Balvin’s fourth album, Energía, released in 2016], and materialized with Mi Gente [released in 2017 and appearing on 2018 album Vibras].”

It was an approach that proved massively successful, pushing Balvin to new heights and huge international success. In June 2018, Balvin became the most listened to artist globally on Spotify, and in September he became the first Latin artist to reach one billion streams on Apple Music. This accolade was followed two months later by a Latin GRAMMY in the Best Urban Album category for Vibras.

Kaminsky points to Balvin’s work ethic and strong sense of self as an artist as key factors in his success: “He sets his own rules, he knows what he wants. He always says, ‘Believe me. I know where I’m going.’ and I say, ‘Okay, we'll follow you.’

“He leads with artistic and creative direction and we help him to realise both his short term and long-term objectives; we provide him with an array of information from data and analytics to collaboration opportunities, but at the end of the day it’s his vision and his instincts that drive us.”

This attitude is reflected in Balvin’s decision to fly the flag for his mother-tongue by continuing to sing in Spanish, despite offers of high-profile English language-based collaborations.

“There’s so much that makes J Balvin special”, says Kaminsky. “He really has a vision to take the genre global without the need to sing in English. He’s committed to being a global artist while staying close to his roots. I believe he has accomplished this and much, much more.”

Case study first published in April 2019.

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Luis
Fonsi

Case study

A Game-Changing Hit From Latin America to the World

Despacito by Luis Fonsi was the song of 2017. Sometimes these things are subjective. In this instance, there can be no argument.

By April 2018, the original and the Justin Bieber-featuring remix had been streamed 7.5 billion times between them, including 1.9 billion times on Spotify and 5.6 billion views on YouTube.

A Spanish language urban-pop track from a Puerto Rican artist who was relatively unknown outside Spain and Latin America topped the charts in 47 countries worldwide.

Universal’s involvement with Fonsi, however, is not a story of overnight success. The company has worked with the artist for over 15 years and has played an important role in building a career that has delivered several number one albums in Latin American territories and on Billboard’s Latin chart in the US.

Jesús López, Chairman/CEO of Universal Music Latin America and Iberian Peninsula, says: “We worked on Despacito for a year before it was released: we chose the producer, we knocked on Daddy Yankee’s door, we shot the video and we made sure that it was the first Latin single released in 2017.

“We played a key role in the entire A&R process and execution of the marketing campaign. After release, we were able to help bring about Justin Bieber’s involvement, which pushed it to another level globally.” López adds that being reactive enough to rapidly incorporate the Bieber-featuring remix into the ongoing campaign was crucial: “Justin jumped on the record in a key moment during the campaign. The Justin Bieber remix was recorded on a Tuesday and released that Sunday.

“The democratisation of consumption and the instantaneous transparency that streaming provides allowed us to detect and track the performance of the song and to position Despacito in each market according to its needs and timings.”

López sees the amazing success as a true team effort: “All of Universal Music worked to make this happen and our partnership with Republic Records was strategically key to this release.”

Fonsi followed Despacito with Echame La Culpa, a duet with Demi Lovato. It went to number one in 14 markets. In early 2018 he finished an 81-date world tour and has a number of global sponsorship deals.

One big hit makes a very big difference. That has always been true, of course, but now, more than ever before, that hit can come from anywhere and go everywhere.

Case study first published in April 2018.

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Camila
Cabello

Case study

A Perfect Storm

Cuban-American singer songwriter, Camila Cabello, achieved enormous success as a member of pop group Fifth Harmony before relaunching her career as a solo artist in 2016. She worked with her label, Epic Records, to take on the challenge of establishing herself as an artist in her own right.

In collaboration with Camila, a comprehensive, global marketing campaign was devised, tying together multiple strands of live TV performances, radio, the creation of unique online content and brand partnerships. Together, these elements would create opportunities for fans to engage with Camila across multiple platforms and discover her new music in a variety of exciting and different ways.

The first stage of the campaign centred on a ‘two-track single’ approach, beginning with the simultaneous release of both Crying in the Club and I Have Questions in May 2017. Jenifer Mallory, EVP, International, Sony Music Entertainment, notes that it was the followup two tracks that really cut through to a global audience: “We put out Havana and OMG at the same time and we let the fans speak.” Havana, and the subsequent remix version with Spanish lyrics from Daddy Yankee, rocketed Camila to global solo success, reaching No. 1 in 95 countries.

Whilst a carefully planned campaign was critical, Mallory describes the need to maintain flexibility and know when to take a reactive approach, such as the decision to bring forward the release of Camila’s self-titled album, to provide the fans with new, fresh music as Havana still soared in the charts. It was a beneficial move and Camila became the first woman in three years to debut at No. 1 with a full-length album on the Billboard 200 chart.

From the moment her music was launched, the team around Camila continued to create ‘moments’ to encourage fans’ constant engagement with her music, like original and tailored content for radio, TV and social media channels. “When you have a new solo artist, I think it’s all about the continuous flow of content,” explains Mallory. “It’s been a really important part of solidifying her solo career and giving her a voice that sets her apart and that allows fans to relate to her.”

Partnerships with major brands were also an important layer in Camila’s campaign, helping to amplify her profile globally throughout her solo breakthrough. Camila starred in an advert for L’Oréal Paris Elvive, to promote a new haircare product, with the strapline: “Everyone loves a comeback.”

Mallory is keen to note that, despite the global nature of the campaign, a one-size-fits-all approach to every market does not work: “We put tremendous effort into making these campaigns feel local and it’s important to do that. Fans in every country want to feel like they discovered her themselves.” This was achieved by engaging with local ‘influencers’, prominent bloggers or personalities in specific countries, as well as tailored campaigns for radio and streaming services.

Ultimately, Mallory believes that it was a number of moving parts coming together harmoniously that helped Camila to become the successful solo artist she is now: “I think it’s never just one thing, right? It’s always a perfect storm of many things,” she says. However, at its core, Camila’s talent and ability to connect with her fans was the epicentre of her solo debut: “The music is great and if the music is great we can do our job and roll it out around the world, but it absolutely starts with the music.”

Case study first published in April 2018.

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Morgan
Evans

Case study

A new generation of Nashville music star

Morgan Evans is not your typical Nashville music star. For a start, he was born in Newcastle, Australia. For another, his music style, harnessing the power of a loop pedal, has drawn more comparisons to Ed Sheeran than Kenny Rogers.

None of this has stopped Evans from becoming a fast-rising star of the Nashville music scene. He signed to Warner Music Nashville in 2017 and released his single, Kiss Somebody, later that year. It has generated more than 21 million on demand streams in the US alone and Evans was named by Amazon Music, Billboard, Google Play and Pandora among others on their 2018 ‘Artists to Watch’ lists.

John Esposito, Chairman and CEO of Warner Music Nashville, says: “I knew Morgan was a special talent from the first time I heard him play. He was signed to our Australian company, but harboured the ambition to come and build his career in the U.S. We were only too delighted to take him on and support him as he builds his career here.”

Evans began his music career in high school, playing in a local rock band. In 2007, he won a competition called the Road to Tamworth and, for his prize, flew to Nashville and recorded a single. Subsequently signed to Sony BMG in Australia, he released his debut EP, Big Skies, which received airplay on Australian country music stations.

By 2012, Evans had signed a deal with Warner Music Australasia. He released his eponymous debut album, which became a Top 20 hit in the mainstream Australian album chart. He also became a huge celebrity on the Australian country music scene, opening tours for the likes of Taylor Swift.

The next logical step for Evans was to relocate full-time to Nashville, which he did in 2017. He also moved labels from Warner Music Australasia to Warner Music Nashville.

Evans says: “Moving to Nashville was a big deal. It felt daunting at times, but I’ve always loved Nashville music and I wanted to dive right in. You’re surrounded by the best songwriters and musicians in the world and you pretty soon need to make a choice to be intimidated or inspired.”

2017 was a standout year for other reasons as well. In December, he married American singer-songwriter Kelsea Ballerini. He wrote the song I Do about their wedding and it went on to become a Top 10 hit in Australia. He started 2018 on a high too, touring with the likes of Cole Swindell and James Blunt, while working in-studio with producer and songwriter Chris DeStefano on his forthcoming second album.

Evans is one of a new generation of Warner Music Nashville international priority acts. Streaming is gaining traction among traditional Nashville music fans, which is helping propel artists into the global charts and introducing their music to a wider international audience.

Esposito explains: “In the same way that the adoption of streaming in Latin America helped propel Latin music into the global charts, the transition to streaming by Nashville music fans offers us an unprecedented opportunity. In the past we’ve only occasionally seen traditional country stars crossover to the mainstream, but now Nashville music is much more a part of the mainstream in the US and overseas.”

In 2018, Evans spearheaded his international campaign with performances at the UK’s Country2Country (C2C) music festival in London and Glasgow. Now in its sixth year, C2C has become a major global platform for Nashville acts.

Esposito says: “It’s amazing. The audience sang along to every word of our artists’ sets. This is music that isn’t getting played on British radio yet. People are discovering it elsewhere and streaming is obviously a massive door opener for us. Our UK labels are putting their hands up to work with Nashville artists because they sense there’s a real opportunity here.”

Evans concludes: “I was stoked to be asked to play London and Glasgow for C2C. I think that Nashville music can travel around the world and has a home wherever fans value great storytelling and amazing tunes.”

Since the publication of this case study in April 2018, Evans has had continued success. His album Things That We Drink Too went to #5 in the Australian charts and #1 in the Australian Country charts (October 2018) and reached the Top 10 in the US Billboard Top Country Albums chart. Evans’ single Kiss Somebody went to #1 on the US Country Airplay charts and was certified Gold by RIAA. His single Day Drunk topped the TMN Hot 100 Australia Airplay Chart and was #1 on the Australian Country Airplay chart for 25 weeks.

Case study first published in April 2018.

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The
Revivalists

Case study

The Power of Perseverance

The story of New Orleans seven-piece rock outfit The Revivalists is one of endurance rewarded and of how the backing of a record company can take a track from live fan favourite to mainstream radio hit.

The band formed in 2007 and, through the acquisition of Wind-Up Records, became part of Concord Music in 2015, soon after releasing their sec- ond album, Men Against Mountains.

Concord’s SVP – Promotion Marketing, Jill Weindorf, takes up the story: “I’d seen them live a few times over the years and I always thought they were special, but what we didn’t know was whether or not they could get traction in my medium, which is radio.”

At the time the band was struggling to make any significant impact with the album’s first single, Keep Going. Ironically, it was the next release that would deliver the perfect lesson in perseverance.

“There was this other song, Wish I Knew You, that we felt really had something going on. Whenever they played it live it got such a great response from the crowd and we thought, you know what, this is the one. So, we started to get ready to take that out in early January 2016.”

The Concord promotions team, in part- nership with the band, then worked the song at radio for weeks. And then months. And then just kept working it – fuelled and sustained by a passion for the track and a commitment to the artist.

“In the end it took 44 weeks to go to number one on Billboard Triple-A (adult alternative), but then it hung around for almost the same amount of time and still, to this day, is getting a tremendous amount of airplay there.

“From there, it took us 22 weeks to get it to number one on the Billboard Alternative Songs chart – but, again, when it did, it set a record for the most single week spins in the history of the format and went on to become the number two most played Alternative song of the year.”

Wish I Knew You went on to hit the Top 20 in the Adult chart, Top 5 in the Rock chart and even broke into the Billboard Hot 100 at 84.

Weindorf is keen to stress that the breakthrough and subsequent sustained success was very much the product of collaboration: “The band ran alongside us every step of the way. They felt the same level of connection with us as a label that we did with them as artists. They said: ‘We’re in’, and they showed up, every time. Nine in the morning to play live on radio; past midnight shaking every hand; they showed up.”

She also points out the difference that one track, and one incredibly dogged campaign, can make to a career. “The success of Wish I Knew You is measured in sales, in consumption, in ticket sales and in the fact that people now know who The Revivalists are.

“But the greatest success, I think, is what it enables us and them to do next. They’re in the studio now working on a new album, and from what I’ve heard already I know that there are at least three more big singles there. Ultimately, though, they will become album artists, they will become career artists, because that’s what we create at Concord.”

Case study first published in April 2018.

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