Justin Tranter Quotes

Don't believe bands who say it's all about the fans and they want to give their music away for free. The result is they will continue to live in their mother's basement.

The more people are listening to music and experiencing it, the more value for both the music companies and the artist, especially when their financial model is built around that. With the music industry, everybody is starting to understand that doesn't begin with a piece of music.

From the artist's standpoint, are you getting more from streaming than you used to, prior to the days of the Internet? No - and I don't know if those days are ever going to come back - but at least, technically speaking, it's the legal way to do it.

Any time that you can give the consumer more of what they want, it's a good thing. I said from Day 1 that the unbundling of the album is a good thing.

Nowadays, with the state of the music business, for any artist, whether you're up-and-coming or you've been in it for awhile, you have to explore different revenues and different ways of expressing yourself.

Distribution has really changed. You can make a record with a laptop in the morning and have it up on YouTube in the afternoon and be a star overnight. The talent on YouTube is incredible, and it can spread like wildfire. The downside is that it's very hard to convince the younger generation that they should pay for music.

These are very difficult times for new artists. Back in the day, a hit song could really seep into a person's DNA with radio and MTV. A hit today is not the same as a hit twenty years ago. Now there is so much competition, it is very hard to reach the people. The music scene is so overly saturated. There are no gatekeepers like there used to be.

The music industry used to be able to control a single dance on the very smallest level of when people are supposed to hear it, and when they're supposed to start liking it, and when they're supposed to start buying it. And that's trashed, you know, that big machine that takes control and works albums for a long period.

I don't even know what words to use to talk about the music industry anymore. But the business has changed a lot - the methods of releasing music.

I'm not saying you can't be successful in the music industry without Spotify. But when I look at the future of music, I don't think scarcity is the model anymore. We have to embrace ubiquity - that music is everywhere.

It's crazy to make records nobody buys. It's just a waste of time.

You can have the power of your music on your cellphone and reach millions.

I've been through the music industry and with the Internet the music industry is not what it used to be.

I really like streaming services. It's a great way for people to find your music.

In the commercial music world, the folk world, we sell records and concert tickets - this is the way I make a living. You go out, you make your art and hopefully people will put their money down for it. But it's getting hard. I have to be on the road so much to keep the lights on.

What's happened to the music industry, from my perspective, is a lot of great music is behind the wall that can't get through, and therefore, a lot of artists are getting discouraged.

This is how people are going to listen to music now - streaming. So diversify as a band. It doesn't mean selling your songs to adverts.

The business has changed dramatically from what it was even just a few years ago. Music isn't even distributed the same way anymore. Even CDs are becoming a thing of the past. The Internet has made it easier to get my music out to anyone who wants it, but at the same time, I feel like we're losing the mystique.

Exclusives are bad for artists, bad for consumers, and bad for the whole industry.

Before I got my big hit, I was selling beats for $500.

I've been debating with people over what an album actually means in 2018. Certain artists who have paid their dues and proven themselves have almost the privilege to put out a full length album.

People don't really buy records anymore, so record companies won't invest in bands like us. They want cookie-cutter acts.

I think it's harder for R&B to break in England because the radio and labels don't really know what to do with R&B music.

At the end of the day, it's not the labels buying the music: it's the people out there, and you have to be behind the music and not anyone else. You're the one representing it, you're playing it for everyone; you're doing promotion and travelling around the world.

Nobody sells records any more, and the only way you can actually do anything is to go out and play live.