Rob Keyes

We’re in the middle of one of the biggest transformations in music history, one that makes the Napster and Limewire era look like a rehearsal. Music creation and distribution have been fully democratized. Anyone can release a record from their bedroom. That’s powerful, but it’s also created a marketplace that’s overcrowded, overstimulated, and often confusing for emerging artists trying to cut through. So what does this new reality demand? The old playbook doesn’t apply. To build a meaningful and lasting career, artists now need: 1. A definitive artist proposition – clarity on who they are, what they stand for, and why it matters. 2. A long-term development strategy – nurturing trust and community, not chasing algorithmic luck. 3. A multi-dimensional approach – understanding how streaming, social, live, and emerging platforms work together. Artist development isn’t a luxury anymore, it’s the foundation for survival. As the landscape grows more complex, we need new frameworks and fresh thinking. That’s why I’m passionate about working with colleges and universities to prepare the next generation of music professionals for what’s coming next. If your institution is focused on bridging real-world industry practice with education, I’d love to collaborate. #MusicIndustry #ArtistDevelopment #MusicBusiness #HigherEducation #MusicEducation #IndustryShifts

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"The next online casino loophole may be built on top of CFTC-regulated prediction markets, and it could fall outside of both federal and state jurisdiction. The model: HHR-style casino games powered by prediction market contracts rather than historical horse race results." Via Valerie Cross, PhD (for DeFi Rate) https://lnkd.in/eJvKf8-F

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I recently stumbled across a great Substack post about the impending death of music streaming ☠️ - one that threw up some interesting parallels with where TV might be heading. The article referenced a ‘Founders’ podcast interview with Jimmy Iovine (legendary music producer, co-founder of Interscope Records and Beats Electronics), in which he argued that music streaming platforms are “minutes away from being obsolete”. Part of this comes down to economics. Unlike TV streamers such as Netflix - where content costs remain largely fixed - music streaming platforms pay out roughly 70% of every dollar they earn to rights holders. As their audience grows, so do their costs. Standalone platforms like Spotify - without wider businesses to absorb these costs (like Amazon or Apple) - face a tougher model. But the most interesting point in Iovine’s interview is less about economics - it’s about relationships. 🫶🏻 All streaming platforms offer essentially the same product: a global library of around 100 million songs. They’ve made music ubiquitous, effectively turning it into a utility that, in Iovine’s words, is “indistinguishable from tap water”. In doing so, platforms captured the most valuable asset of all: musicians’ relationship with their audience. Services like Spotify want listeners to have a relationship with the platform, not the creator. Musicians get global reach, but very little visibility of who their fans actually are, and often very limited revenue. Faced with this reality, many artists are prioritising rebuilding direct relationships with their audiences - through live performance, memberships, communities, merchandise and other direct channels. 📺 It’s an interesting lens to apply to television. Most TV streaming platforms work in a similar way. Producers can achieve huge distribution by partnering with global streamers, but they get very little insight into who their audience actually is or how that audience behaves over time. The viewer relationship sits firmly with the platform. But across the kids and family sector in particular, we have started to see a different model emerge. In today’s fragmented media landscape, more producers* and studios recognise that long-term value comes from building direct audience ecosystems around their IP. From the all-important YouTube and social channels to digital experiences, merchandise, live events and even fan-supported funding models - nurturing genuine fandom, rather than simply chasing viewing figures, is key. Digital platforms like YouTube play a vital role because they give creators real visibility of their audiences - and the means to build relationships over time. A show may start on a streaming platform, or linear TV - but the brand, and the audience that comes with it, increasingly lives somewhere else. Full article linked in the comments. It’s worth a read. 🧐 * see comments for a bit more nuance on this bit 🔍

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I’m pleased to share this news about ScreenMiner -- it is a big moment for our team! We began building the platform because audience attention in the screen sector has fragmented dramatically. Discovery and engagement now unfold across multiple platforms, communities, and release windows, yet the industry has had few ways to interpret that activity in context. Producers are being asked to think differently about audiences. Some funders are embedding audience development into their expectations. But the operating systems of the sector have not evolved at the same pace. ScreenMiner grew out of that gap. I’m deeply grateful to the leaders who recognized where the industry was heading and chose to act. TELUS Fund was the first to support this work, helping move ScreenMiner from concept to reality. Shaw Rocket Fund, Bell Fund/ Fonds Bell, and the National Film Board have also been steadfast champions of the platform. Leadership matters. When organizations have the vision and the courage to act, it changes what becomes possible for the industry. Telefilm Canada also played an important role in the early development of ScreenMiner, alongside support from the Canada Media Fund | Fonds des médias du Canada Experimental program. Thank you to all the producers who use the system and provide invaluable feedback that continues to shape its evolution. And to Te Māngai Pāho, for moving audience development from policy discussion into operating practice. We’re excited to work together! Elizabeth Friesen Leah Camenzind Jack Shute Juggy Sihota-Chahil Agnes Augustin Marcia Douglas Julie Roy Francesca Accinelli Nathalie B. Suzanne Guèvremont Valerie Creighton Larry Parr Sara Diamond

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Indie studio Blue Ant Media has unveiled a deal to acquire Vancouver-based rival Thunderbird Entertainment Group as part of an CAN$89 million (US$63 million) cash and stock deal.

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Curious Bloober Team's how Cronos: The New Dawn is performing against other huge 2025 releases? ✅ Swipe through the carousel for review scores, competitive genre rankings, and a breakdown of the features fueling critic and player buzz. #CronosTheNewDawn #ReviewBreakDown #Fancensus #GameDev #GameIndustry

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Canadian Music Spotlight - ADVICE How Streaming Actually Pays Artists in 2026 By Eric Alper The numbers are bigger than ever - and understanding them is a genuine adventure. The Headline Number Is Remarkable In March 2026, Spotify released its annual Loud & Clear report with a genuinely exciting figure: the platform paid out a record $11 billion to the music industry in 2025, bringing its cumulative all-time payouts to $70 billion. At the summit of Spotify's royalty distribution system are 80 artists worldwide generating more than $10 million in annual royalties. Some 1,500 artists generated over $1 million last year, while more than 13,800 artists generated at least $100,000 - nearly double the number achieving that milestone back in 2015. Read more ... https://lnkd.in/ggUb6X8M #streaming #spotify #canadianmusic #royalties #ericalper

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Robinhood Derivatives LLC has failed to secure a temporary restraining order against the Nevada Gaming Control Board. #fxnews #robinhood #gaming #gambling https://lnkd.in/dSmHFZWa

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OLG is taking another step to strengthen how data supports safer play. We are focused on innovation in this space. OLG was the first Canadian jurisdiction to launch player-risk models for our iGaming players back in 2015. Using analytics to build on and improve our supports for players remains our priority, and this represents the next phase of that evolution. https://lnkd.in/gAcvSJCT

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🎮 Media & Entertainment Headline Recap 🎶 March 9th, 2026 Key themes: continued gaming revenue scale, refinancing activity among major music companies, takeover defenses in streaming, independent label consolidation, and ongoing catalog monetization. 1. Scopely Revenue Tops $15 Billion Driven by Mobile Gaming Hits - Mobile game developer Scopely has generated more than $15 billion in lifetime revenue, driven by blockbuster titles including Monopoly Go! and Pokémon Go, highlighting the continued scale of mobile gaming monetization. Read more about this here: https://lnkd.in/gjypr847 2. Warner Music Group Signs New $1.645bn Credit Agreement With JPMorgan - Warner Music Group refinanced its debt through a new $1.645bn credit agreement led by JPMorgan, including a $1.295bn term loan and $350m revolver to consolidate existing facilities and support general corporate purposes. Read more about this here: https://lnkd.in/dD4SMWYP 3. Starz Adopts Poison Pill After Byron Allen Acquires Stake - Starz adopted a shareholder rights plan designed to deter a potential hostile takeover after Byron Allen disclosed a roughly 10–11% ownership stake, which would trigger dilution if ownership thresholds are exceeded. Read more about this here: https://lnkd.in/gBHF87Jf 4. Concord Acquires UK Indie Label Ninja Tune - Concord has acquired influential independent label Ninja Tune and its publishing arm Just Isn’t Music, expanding its global recorded music and publishing footprint while maintaining the label’s creative independence. Read more about this here: https://lnkd.in/dcypd4XE 5. BMG Acquires Catalog of UK New Wave Band A Flock of Seagulls - BMG has acquired the publishing and recording catalog of UK new wave band A Flock of Seagulls, adding another legacy repertoire acquisition to its growing catalog strategy. Read more about this here: https://lnkd.in/deNTjb-k

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"Gaming worked on live streaming because it gave you something to react to." Can AI do the same? Twitch CEO Dan Clancy shared this insight on Colin and Samir's recent episode "Why live streamers are driving culture in 2025", and I've been thinking about it ever since. Clancy describes live streaming as "improvisational performance art" where authenticity emerges from spontaneous reactions. There's something about watching someone respond to unexpected moments that feels more genuine and creates emotional connection with viewers. Video games naturally introduce this into a stream. They constantly generate new situations for streamers to respond to, which adds tension and drama, as we watch streamers adapt to challenges and surprises as they appear. It's easy to see why sports and breaking news have always been the most popular forms of live television. Whether you're a twitch streamer or a live television crew, captivating an audience is much easier when there are uncertain outcomes playing out in real time. I also see this connection in reaction videos. The popular format where creators watch viral content and add their own commentary and personality. It's just more engaging to experience something alongside someone else, rather than all on your own. In the interview, Clancy predicts AI could serve the same function as gaming in live streams. The way AI receives prompts and creates unexpected outputs is something streamers interact with while live. Just like gaming has always provided that "stimulus to react to," generative AI opens up this same dynamic for creators outside gaming. Any brand or organization could potentially use AI with their own custom prompts to create those spontaneous moments that make streams feel alive and authentic. Definitely has a lot of gears turning in my head. I've already got a few ideas for how I'll integrate AI into some upcoming streams.

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🚀 Exciting news in the music industry! Xposure Music, a Canada-based music financing company, has successfully secured $42.5 million in new debt and equity funding. This significant capital boost will empower Xposure Music to pursue acquisitions of independent music catalogs, further strengthening its position in the market. This move not only signals the growing investor confidence in music financing but also highlights the increasing value of indie catalogs in the ever-evolving landscape of the music industry. Stay tuned for how this funding will impact artists and the broader music ecosystem! #XposureMusic #MusicFinance #Investment #IndieMusic #MusicIndustry #Funding

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