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HABTEMARIAM UPPED TO CHAIRMAN/CEO AT MOTOWN
A new chapter for Hitsville USA (3/2a)
GRAMMY CHEW: THE
PRE-GRAMMY BOUNCE
Let's hear it for ironic guitar-smashing. (3/2a)
NEAR TRUTHS:
PIE IN THE SKY
The stream is irrigating a money tree. (3/2a)
ATTENTION, ALT PROGRAMMERS
KG thinks she's glimpsing a light at the end of the tunnel. (3/1a)
FREEDOM NOW AND OTHER JAMS, PART 4
Social justice through the lens of jazz (3/1a)
BLACK HISTORY MONTH
A jazz chronicle of fighting the power.
GRAMMYS: WHERE TO FROM HERE?
After the snubs, the show.
ACQUITTED
In a phenomenal display of cowardice.
MOVING THE NEEDLE
When vaccination schedules and touring schedules meet.
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.