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THE GRAMMY NOMS: A PRELIMINARY CHEW
"Uh-huh" vs. "huh?" (11/20a)
AND THE NOMINEES ARE...
The list. (11/20a)
A TOP 20 OF TITANIC PROPORTIONS
Best enjoyed with a good belt. (11/20a)
SONY'S BIG WEEK
And that was before the Grammy deluge. (11/20a)
DABABY IN GERSON'S CRIB
Talk about pub crawling. (11/20a)
THE GRAMMY NOMINATIONS
They're here. What do they mean?
U.K. SPECIAL
Forget Brexit--it's our yearly survey of doings in Blighty. And if you still can't forget Brexit, try drinking.
WHAT'S GOING ON BENEATH OUR WINDOWS?
The latest in Hollyweird.
WEED!
That's what Hollywood smells like. Seriously. 24/7.
Music City
NEXT-WAVE AGENTS: SLOANE LOGUE (WME)
7/8/19

The digital world became the career focus of William Morris Endeavor’s Sloane Logue when she was part of the team behind Toby Keith’s massive “Red Solo Cup” success. “The video acquired more than 600,000 views on YouTube before the album’s release and has over 51 million today,” she remembers. For the agent from Benton, Ky., who’s invested in cross-platform star Jessie James Decker, modern technology has been a driver since 2007.

What are the biggest challenges you see?
I began my journey before Spotify was in the U.S., before the first iPhone was introduced and when MySpace was the biggest media outlet. I’ve watched the changes from physical album sales to digital downloads and now streaming. Adapting to the changes is critical.

It’s predicted there will be a billion subscribers to premium music services by 2030. Streaming has generated so many opportunities—from the amount of music consumed to the amount of consumer data available. But while streaming makes it so much easier for artists to release music and for consumers to access it, there’s more competition, and artists have to cover more ground. Artists really have to make sure they’re effectively reaching their fans.

Best lesson learned?
Stay ahead of the curve and be as knowledgeable as possible on all aspects of the business.