TomX
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Post by TomX on May 18, 2024 2:14:18 GMT
There’s a contest for the album, Sony ear buds and merch. It’s all with Sony and copyright on site is Sony. I think she left Warner. It means nothing. This GH is being distributed by Sony since they have the rights to most of her catalogue. Also, she never stopped being distributed by Sony in some countries. Why would we want her to leave DTA? It’s the best label she’s been signed to and the one which gave her complete freedom to do whatever she wanted, put her back on the spotlight and gave her tons of promo for being in a streaming era. I couldn’t care less about her moving to a bigger label, we’ve been there before and it sucked. I know artists have more freedom nowadays, but she’s basically the queen of DTA and most of the attention and budget goes to her. She’s been on like 5 labels in the course of 7 albums, let’s please just settle for once.
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BogoGog24
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Post by BogoGog24 on May 18, 2024 2:20:17 GMT
I agree, I wouldn’t want her to move to a bigger label. Bigger labels probably aren’t going to invest in her since she’s not that big an artist anymore, they’re focusing on current artists. Avril’s never going to reach the same level of success as before and that’s ok. I don’t think she cares anyway, I think she just wants the freedom to do what she wants. As Tom pointed out, she’s been on majors before and they dictated how she should make her albums and made her compromise her vision. DTA might be a small label but I think Warner handles the distribution of her work so it’s almost like she gets the best of both worlds. There was a decent amount of promo for LS. I also think it helps being on a label run by a fellow artist who isn’t trying to control her creatively, he gets the artists’ need for creative expression.
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blackmage
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Post by blackmage on May 18, 2024 2:23:29 GMT
What kind of promotion did she have for the "streaming era" during her time with DTA? The most basic playlisting ever? Even BMG added her songs to big and significant playlists for Head Above Water and EVEN Dumb Blonde. During HAW, she also performed the lead single numerous times on different TV programs, albeit with terrible timing. The only positive aspect of DTA was the radio promotion for LIWYHM and her attendance at award shows. I don't see much difference. The only real difference for me was that her team was wiser during the LS rollout, and the album was definitely more inspired and well-planned and she was happy and and open to talk about the creative process of the album during the rollout, with songs promoted at the best times. I also think she had creative freedom during HAW so I wouldn't strongly affirm DTA was the main factor in making LS a better era.
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blackmage
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Post by blackmage on May 18, 2024 2:31:39 GMT
I believe the credit for LS should also be attributed to her rather than DTA, especially considering her statements acknowledging BMG's support and creative freedom. Even after leaving the label, she reaffirmed it. Despite all of this support and freedom, the rollout of HAW was chaotic, clearly due to her own fault, as the label provided her with proper investment. I'm just trying to recognize both her strengths and weaknesses instead of just blaming or praising the labels for right and wrong moves as she is also a (main) part of it.
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TomX
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Post by TomX on May 18, 2024 2:39:17 GMT
What kind of promotion did she have for the "streaming era" during her time with DTA? The most basic playlisting ever? Even BMG added her songs to big and significant playlists for Head Above Water and EVEN Dumb Blonde. During HAW, she also performed the lead single numerous times on different TV programs, albeit with terrible timing. The only positive aspect of DTA was the radio promotion for LIWYHM and her attendance at award shows. I don't see much difference. The only real difference for me was that her team was wiser during the LS rollout, and the album was definitely more inspired and well-planned and she was happy and and open to talk about the creative process of the album during the rollout, with songs promoted at the best times. I also think she had creative freedom during HAW so I wouldn't strongly affirm DTA was the main factor in making LS a better era. When I meant “for a streaming era” I meant that it was good for today’s standards given how everything revolves around it and artists don’t promote their music as much anymore.She got to be on a lot of TV shows and do plenty of interviews, at least twice the promo she did for HAW, not to mention she got to be back at major award ceremonies again, like the Grammys and MTV Awards, plus the dozens of magazine covers she shot. We got a super complete merch bundle with the singed CDs, vinyl variants, cassettes, clothing and so on. So yes, DTA played a huge role in this, along with Warner/Universal who were in charge of the distribution.
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blackmage
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Post by blackmage on May 18, 2024 2:56:19 GMT
What kind of promotion did she have for the "streaming era" during her time with DTA? The most basic playlisting ever? Even BMG added her songs to big and significant playlists for Head Above Water and EVEN Dumb Blonde. During HAW, she also performed the lead single numerous times on different TV programs, albeit with terrible timing. The only positive aspect of DTA was the radio promotion for LIWYHM and her attendance at award shows. I don't see much difference. The only real difference for me was that her team was wiser during the LS rollout, and the album was definitely more inspired and well-planned and she was happy and and open to talk about the creative process of the album during the rollout, with songs promoted at the best times. I also think she had creative freedom during HAW so I wouldn't strongly affirm DTA was the main factor in making LS a better era. When I meant “for a streaming era” I meant that it was good for today’s standards given how everything revolves around it and artists don’t promote their music as much anymore.She got to be on a lot of TV shows and do plenty of interviews, at least twice the promo she did for HAW, not to mention she got to be back at major award ceremonies again, like the Grammys and MTV Awards, plus the dozens of magazine covers she shot. We got a super complete merch bundle with the singed CDs, vinyl variants, cassettes, clothing and so on. So yes, DTA played a huge role in this, along with Warner/Universal who were in charge of the distribution. As I mentioned, I don't see much of a difference from HAW. Certainly, LS was a way of a better era and that can cloud our judgment. For HAW, she had a lot of TV appearances and magazine features, some even bigger ones like Billboard, as well as a better global coverage in other countries than US, Canada and UK imho. You're correct about the physical aspect, but this was also influenced by the release context of LS. Back in 2019, variants and signed editions weren't as prevalent, and she simply adapted to the current trends, with her team being more attuned to them. I wouldn't discount her or her new team just to credit the label. HAW also saw 5 songs promoted from the album, inclusion in soundtracks, and placement on major Spotify playlists, among other things. But the era was chaotic, the timing of everything was terrible and the project was also messy and terribly planned. When I suggest her moving to a larger label, I mean one capable of handling her status. I'm not implying she should be on a label that wouldn't give her freedom, but a better distribution on streaming platforms could definitely benefit her, considering she already manages other aspects like interviews, TV shows, magazines etc, cause she already does it even in between album releases. Last year she did some magazines and nothing music-related happened. This was totally planned by her team, not the label.
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joshlee
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Post by joshlee on May 18, 2024 3:01:49 GMT
If she has changed her sound for the new album(country) then it wouldn’t surprise me if she has switched labels to get more contacts/ collabs with other artists as Nate Smith is also on Sony music.
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blackmage
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Post by blackmage on May 18, 2024 3:28:05 GMT
I'm into the idea of a country EP for her just to test the waters. For a reson, writing, recording, producing, and releasing a whole album seems to be so time and energy-consuming for Avril. Maybe she needs to explore some EPs focusing on her parallel projects sometimes (like country, Christmas, or other promised projects with around 5 songs) or these ideias may never happen. I don't think she's confident enough to experiment within her main career or main albums, so this could be a solution.
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gabbox
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Post by gabbox on May 18, 2024 9:45:11 GMT
As far as UMS20, we're finding out in 6 days. If it's not out on iTunes and streaming services next Friday, it's safe to say we won't have it neither digitally nor on physical
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BogoGog24
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Post by BogoGog24 on May 18, 2024 12:25:19 GMT
Does the label even handle stuff like scheduling her for interviews and appearances though? Or is that her team/management/agent? The label gives her the resources to make an album, but we don’t know if they really do anything beyond that. I don’t think BMG is really a label either, but rather a distributor. So all this talk about what BMG did for her is kind of irrelevant to the point.
I think when it comes to her being on things like the Call Her Daddy podcast for example, that’s organized through her management, the label has nothing to do with it. Avril seems to be aware she needs to go outside her comfort zone and start going on podcasts, or working with other artists to stay relevant. That all comes down to her and her team, the label just helps her make albums. If she’s happy at DTA, then I think it’s fine if she stays there. A distributor clearly handles the bigger aspects of it, what’s the issue exactly?
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blackmage
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Post by blackmage on May 18, 2024 13:54:12 GMT
Does the label even handle stuff like scheduling her for interviews and appearances though? Or is that her team/management/agent? The label gives her the resources to make an album, but we don’t know if they really do anything beyond that. I don’t think BMG is really a label either, but rather a distributor. So all this talk about what BMG did for her is kind of irrelevant to the point. I think when it comes to her being on things like the Call Her Daddy podcast for example, that’s organized through her management, the label has nothing to do with it. Avril seems to be aware she needs to go outside her comfort zone and start going on podcasts, or working with other artists to stay relevant. That all comes down to her and her team, the label just helps her make albums. If she’s happy at DTA, then I think it’s fine if she stays there. A distributor clearly handles the bigger aspects of it, what’s the issue exactly? I think her management is responsible for it. But if we credit DTA for doing it like someone else said before and don’t credit BMG, than I believe there’s something inaccurate in this thesis. As I said I’d rather acknowledge her team for a better schedule and management for LS era than the label itself as well as a I blame her and her team for all the HAW mess. Btw I think the podcast was also part of tour and GH strategies for better exposure. I also believe it was her team behind it.
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Jinkxx
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Post by Jinkxx on May 18, 2024 17:46:30 GMT
Who are her team members? Do we know anything about that? I think the promo now indeed such as the podcast is for promoting her GH tour.
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pllforlife
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Post by pllforlife on May 18, 2024 18:34:38 GMT
Who are her team members? Do we know anything about that? I think the promo now indeed such as the podcast is for promoting her GH tour. Whoever they are, they are terrible at their job.
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giveuwhatulike
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Post by giveuwhatulike on May 18, 2024 19:15:21 GMT
She changed her management team recently; everything points out that she is now under the same company that handles artists like Willow Smith, Yungblud and Kacey Musgraves. So it wouldn't really shock me if she changed labels as well. The thing is, if she goes back to Sony, she needs to know they will push her more when it comes to commercial stuff, so she needs to compromise or she will be stuck in the same situation she was in before. The investment is bigger? Yeah, but the pressure comes with it
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blackmage
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Post by blackmage on May 18, 2024 19:48:39 GMT
I know her main manager since LS pre-era is Nano Tissera (the same manager of ATW and who was not with her during HAW)... and of course, there are more people involved, like agents, publicists, PR, etc., who have likely been with her for a long time, such as that Michael Heller guy. Her tour is being organized by Live Nation, a good company for touring.
No idea about the rest.
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