IN Everything that matters In Singapore, Sony Music President of Asia and the Middle East Subramaniam Schridhar The main rapid impact of Asia in the global musical business, emphasizing the cultural diversity, localization and power of fan economics.
A conversation with a veteran by the musical director Ralph Simon, Subramaniam, who is also the chairman of the International Federation of the Phonographic Industry (IFPI), pointed out the launch of the ORG weekly in six Asian countries as “amazing efforts” that offer new tests for measuring success.
“Throughout Asia, there are a huge number of obvious linguistic diversity, cultural diversity,” Sumramaniam said. “This is almost like a stratified Grand -Canyon. Since it goes deeper, you suddenly reveal new cultures, new colors and new material. ”
Subramaniam emphasized the evolution of regional genres in global formats, referring to folk music associated with Indonesia. When playing in the villages, urban youth is rethought as “hipes”, mixing traditional rhythms with modern blows. “If you look at Indonesian charts now, largely the most part of this year, it was one of these sounds that was sitting on the charts, number one is number 10,” he said.
Sony invested early, launching a special label strategy and acquisitions around DangDut. Subramaniam compared his trajectory with the reggeton, which passed into the music of Afrogits and Penjabi. “We see a similar thing with this,” he said.
The Philippines also release a niche with Pinoy Pop. Acts as SB19Completely in modelation in the K-POP system, but deeply localized, draw “billions of streams” and are now expanding to Japan thanks to living tours and cooperation. “They actually landed in Japan recently, worked with a subsidiary to try to build a living tour and cooperate with local artists,” Subramaniam explained.
Thailand's growing significance was emphasized due to the growth of cross -border interest. “Currently, China is beginning to be interested in Thai pop music and Thai artists,” Sumramaniam said, noting cooperation with the participation of Korean and Japanese players, as well as Chinese manufacturers.
While global breakthroughs often begin with pioneers, Subramaniam emphasized that “it all starts with the success of the house.” He added: “People forget that K-Pop growth was mainly among home fans who advanced it outside Korea. This is an agreed effort, but they did it. “
Since Spotify loads 135,000 new songs per day, Subramaniam warned that developing artists are more complicated than when, libs. Strategies vary from fan economics and living tour to synchronization with television, cinema, games and influential people. “Now you have a set of tools, as well as what you can do,” he said. “The task is to find a map and the right path for each of these artists.”
Despite fragmentation, it remains optimistic in relation to Asia’s prospects: “Asia has its own moment, not only from income, but also a cultural point of view. About five or seven years ago, we are used to taking into account less than 5% to 7% of the world market. Now we have reached almost 14% and 15% and could potentially get up to 20%. ”
He predicted that hyper-local scenes will increasingly form a global culture through a huge volume and algorithmic dominance. “This is almost as you are watching video charts on YouTube. This is crazy. They are fully controlled by Indian and Latin American acts. And you will see that this is happening on other platforms, ”he said.
