Matt Connarton Unleashed 12-27-25 hour 2

0:00 Speaker 1: W m n H rip the dobles. We're back from

0:06 Speaker 1: the brand.

0:37 Speaker 2: He has stand out in the dark.

0:39 Speaker 3: You know he was sadly and I will ever win

0:44 Speaker 3: our spark.

0:45 Speaker 2: And res sadly and all that.

0:49 Speaker 4: Is wrong startup but it keeps saving me. But no,

0:53 Speaker 4: I'll not got into this. No, say the things that

1:02 Speaker 4: you wanted to see.

1:04 Speaker 2: I try to shout.

1:06 Speaker 3: Try it means I do it for yourself past me.

1:10 Speaker 3: I am passing, but we would knowing.

1:13 Speaker 5: That there's somebody aunt.

1:15 Speaker 2: It's not tis not, it's not so much talking. I

1:19 Speaker 2: think it through all me. I want to stop from me, So.

1:26 Speaker 5: Don't fro me. It's words you.

1:35 Speaker 6: A person so around I know it's so do the

1:40 Speaker 6: isolation in the crowd. The blame is along on you

1:45 Speaker 6: and all I'm saying it because now you're feeling me

1:50 Speaker 6: was tough.

1:50 Speaker 2: Now we're both going into this. No, no, say the.

2:00 Speaker 5: Things that show miss try to shoats every time.

2:05 Speaker 2: I'll do it. That's bastly by.

2:10 Speaker 3: We must not as on the last show, stop sids nothing.

2:15 Speaker 7: Sima stopping away.

2:17 Speaker 5: I think it's true to me. I stop for.

2:23 Speaker 7: Don't bottle shows says.

2:49 Speaker 2: Don't get a sitting show. No don't miscaus you don't.

2:58 Speaker 8: Soon No, alright, that is don't fool me twice by

3:58 Speaker 8: the band the Marches, And of course you heard that

4:00 Speaker 8: the first time on American radio here on WM and

4:03 Speaker 8: H on this very program. And we've got let's see

4:06 Speaker 8: who we have here. I believe Kate Morrow is with

4:08 Speaker 8: us via Microsoft teams. Kate, can you hear me?

4:12 Speaker 9: Yeah?

4:12 Speaker 10: I can hear you.

4:13 Speaker 8: Hello, excellent, Welcome to the show. Is anyone else from

4:16 Speaker 8: the band with you? Or are you?

4:18 Speaker 9: Is it?

4:19 Speaker 8: Are you flying solo?

4:21 Speaker 10: Unfortunately the ghettos can't come with me, so I'm playing solo.

4:24 Speaker 9: But I'm very happy to be here.

4:25 Speaker 8: That is quite all right. We're very happy to have you.

4:27 Speaker 8: Welcome to the show. I love your sound particularly and

4:31 Speaker 8: you probably hear this all the time, but I'm particularly

4:34 Speaker 8: taken with the vocals and the harmonies. And do all

4:38 Speaker 8: four of you sing live?

4:41 Speaker 9: Yes?

4:41 Speaker 10: So that's something we've just started to incorporate into our

4:44 Speaker 10: live sets. I was the last one to start singing

4:48 Speaker 10: yes us vocals.

4:50 Speaker 8: Well, you don't see a lot of singing drummers, and

4:53 Speaker 8: you know, I think it's obvious why. I mean, you know, drumming,

4:56 Speaker 8: it's the most physical instrument, right, you're using all four

4:58 Speaker 8: of your limbs, so it's probably challenging. I've always assumed anyway,

5:02 Speaker 8: that it's it's challenging for drummers to sing because you're

5:05 Speaker 8: already using a lot of wind. You're already you're you're

5:07 Speaker 8: already doing so much. How has that been for you?

5:10 Speaker 8: You said that you were the last of the four

5:11 Speaker 8: to really start singing. I mean, how how has that

5:13 Speaker 8: been for you? Has it been challenging or is it

5:16 Speaker 8: kind of come naturally or what's happened?

5:17 Speaker 9: Like I bet both.

5:20 Speaker 10: You know, when I'm playing live, I usually do tend

5:22 Speaker 10: to sing along with it a microphone, although I don't

5:24 Speaker 10: seem very good. Then we're starting to that, we're starting

5:28 Speaker 10: to incorporate into our set, and I'm having time to

5:30 Speaker 10: practice with the ghettos, get used to playing west the

5:33 Speaker 10: drums at the same time, and it's going really well.

5:36 Speaker 10: It sounds amazing when we have all four of us,

5:38 Speaker 10: So I'm enjoying it.

5:40 Speaker 8: Is it important to you as a band to replicate

5:42 Speaker 8: because I would imagine this is very difficult because again,

5:45 Speaker 8: such a it seems to me. And again, when whether

5:48 Speaker 8: it's that song or November, it seems like it's such

5:52 Speaker 8: a key part of your sound, those those harmonies. Is

5:56 Speaker 8: it important to be able to replicate that live? Or

5:59 Speaker 8: do you not worry about it as much? Maybe live

6:02 Speaker 8: it can be a little looser and a little raw,

6:05 Speaker 8: or I mean, how do you approach that? Do you

6:06 Speaker 8: do you really try to replicate what's what's what you've

6:10 Speaker 8: recorded or or is it not that big of a deal.

6:15 Speaker 10: No, I think we definitely are trying to make sure

6:18 Speaker 10: our life sound is quite similar to the tracks.

6:21 Speaker 8: Yeah, and so we are.

6:22 Speaker 9: We haven't working on it.

6:24 Speaker 8: It is important, do you like, how do you in

6:27 Speaker 8: terms of practicing, uh, kind of replicating that vocally? Do

6:32 Speaker 8: you do you ever, like just sit like the four

6:34 Speaker 8: of you and just try singing the parts and and

6:37 Speaker 8: you know, you each find your octave or do you

6:39 Speaker 8: just or do you just play the songs and practice,

6:42 Speaker 8: you know, the singing obviously while you're playing.

6:45 Speaker 10: Do you know when we've tried to do it like

6:47 Speaker 10: a capella, we usually just end up laughing. We have

6:50 Speaker 10: to do it with all the instruments in the film. Yeah,

6:52 Speaker 10: it was we'll just sit and laugh at each other.

6:55 Speaker 8: No, that makes sense, That makes sense. Now, how long

6:57 Speaker 8: has the band been around. You're relatively new, right the Marches, Yeah,

7:02 Speaker 8: we are.

7:02 Speaker 10: So the four of us came together in May twenty

7:05 Speaker 10: twenty four, so it's been in nearly two years. Nearly

7:09 Speaker 10: two years.

7:10 Speaker 8: Next, okay, okay, so relatively relatively new. Now I'm curious

7:15 Speaker 8: about So I was reading this, So the BBC it

7:20 Speaker 8: says here, and you can tell me if this is right,

7:23 Speaker 8: but it says here the BBC kind of has introduced

7:26 Speaker 8: you as calling you, uh, Glasgow's freshest girl band. And

7:33 Speaker 8: when I see that, something occurs to me. Now, obviously,

7:35 Speaker 8: so you're you're all females in the band, but I

7:38 Speaker 8: find it odd that that someone would uh point that out.

7:45 Speaker 8: I'm only bringing it up because I'm curious how you

7:47 Speaker 8: feel about when say, the BBC refers to you as

7:50 Speaker 8: Glasgow's freshest girl band, Because to me, it's weird that.

7:55 Speaker 8: You know, it's like, you don't call a bunch of

7:58 Speaker 8: dudes in a rock band. You don't call them a

8:00 Speaker 8: boy band, you know, unless you're referring to you know,

8:03 Speaker 8: a specific genre, right, But but how do you feel

8:07 Speaker 8: about that? Like to me, it seems almost sexist when

8:10 Speaker 8: the BBC goes out of their way to label you

8:13 Speaker 8: as that. You know, you're a rock band, you happen

8:16 Speaker 8: to be for women, but why do you need this

8:19 Speaker 8: special label? I'm curious how you feel about that, do

8:24 Speaker 8: you know?

8:26 Speaker 9: I think you can take it in a number of ways.

8:28 Speaker 9: And you know, we are all females.

8:31 Speaker 10: We are all female bands, so that's simpletly understandable.

8:35 Speaker 9: The presenters who said that they were females.

8:38 Speaker 10: Themselves, okay, and the Glasgow scenes there aren't many for

8:45 Speaker 10: or aren't many all female bands. Yeah, I can understand

8:49 Speaker 10: why they have said that. You know, it's not something

8:51 Speaker 10: that we're deliberately, you know, not trying to mark ourselves

8:54 Speaker 10: as obviously we are a gheto band, that is us. However,

8:58 Speaker 10: you know, like you said, you could say a rock band,

9:00 Speaker 10: you could say whatever. However we just took it as

9:02 Speaker 10: we just took it as a compliment from the BBC

9:05 Speaker 10: and all they listened to so many bands every day

9:07 Speaker 10: that if they're calling us the freshies ghetto bands in Glasgow,

9:10 Speaker 10: then I think we are quite happy to take that

9:12 Speaker 10: as a compliment.

9:13 Speaker 8: Yeah, no, that's good. That's a great way to look

9:15 Speaker 8: at it. Yeah, it just struck me as strange but

9:17 Speaker 8: as you mentioned too, it was it was women who

9:19 Speaker 8: are saying it, so that changes the context a bit too.

9:22 Speaker 8: So so that's good, that's good. But I mean, but

9:27 Speaker 8: you are, you are a rock band. And and for

9:29 Speaker 8: for anyone who you know, for anyone who was joining

9:32 Speaker 8: us late who didn't hear the track, don't fool me twice,

9:34 Speaker 8: I mean, you're I'm curious to know more about your

9:36 Speaker 8: sound and your influences because I I hear some different

9:39 Speaker 8: things in there, but like, who are some of your influences?

9:48 Speaker 10: Well, some of our influences definitely have to be fleet

9:53 Speaker 10: with Mac. For example, the Bangles when we're starting out,

9:57 Speaker 10: those were the Kina bands that we're saying, very much

9:59 Speaker 10: fan our sound. Now we have changed direction, you know,

10:03 Speaker 10: don't for me twice is the start of our more

10:05 Speaker 10: rockier sound. Yeah, and so we are just cant finding

10:08 Speaker 10: their feet there. And you could say, like alanis motor

10:12 Speaker 10: Set for example, definitely an influence there.

10:16 Speaker 8: Yeah, Yeah, I like the Fleewood Mac. I can definitely

10:19 Speaker 8: hear that. I'm a big Fleetwood Mac fan, and I

10:23 Speaker 8: know what you mean. Yeah, that's that's definitely And and

10:26 Speaker 8: again it kind of goes to that vocal approach right,

10:29 Speaker 8: you know, it reminds me of a very very evocative

10:32 Speaker 8: of of Fleewood Mac.

10:35 Speaker 10: And then oh, absolutely we do call our singer Stevie

10:37 Speaker 10: next because she does and just like her.

10:39 Speaker 8: Rethinks, Yeah, that's that's fantastic. That's fantastic. So Don't Fool

10:45 Speaker 8: Me Twice as the newest single, and then you've got November,

10:49 Speaker 8: which we also did play on the show. Really like that,

10:52 Speaker 8: and then you've got You've got a couple others before that.

10:55 Speaker 8: What's what's kind of the do you have plans to

10:59 Speaker 8: do an EP or a full album or there's so

11:03 Speaker 8: many different ways to release music these days, but are

11:06 Speaker 8: you going to do more singles? Do you know kind

11:07 Speaker 8: of what your forward trajectory is.

11:09 Speaker 9: As far as that, Yes, absolutely so.

11:12 Speaker 10: I think our next plan is to release an EP okay,

11:17 Speaker 10: which is very exciting, going along the lines of Don't

11:20 Speaker 10: for Me Twice and that more rockier sound. Yeah, November

11:23 Speaker 10: and Don't Form Me Twice was released on like our

11:26 Speaker 10: double asage release, it was put on vinyl, and November

11:29 Speaker 10: was the end of our first chapter together kind of

11:32 Speaker 10: like our old sound, and then Don't for Me Twice

11:34 Speaker 10: is the beginning of our new sound, So the beginning

11:37 Speaker 10: then of our EP and What's the Cup in twenty

11:39 Speaker 10: twenty six.

11:40 Speaker 8: Oh, very cool Now in terms of because you talk

11:43 Speaker 8: about that kind of your old sound and your new sound,

11:45 Speaker 8: that that transition, is that something that you decided as

11:50 Speaker 8: a band in other words, was it Is it intentional

11:55 Speaker 8: or is it more just sort of organic, like that's

11:58 Speaker 8: kind of the direction you're you're going and you're just

12:01 Speaker 8: going with it. I'm curious about that. Is that something

12:03 Speaker 8: you where you sat down and you said, you know,

12:05 Speaker 8: the four of you said we need to go, we

12:08 Speaker 8: want to change direction, or or is it just kind

12:10 Speaker 8: of something that's happening.

12:13 Speaker 9: So it just kind of happened in the room.

12:16 Speaker 10: The four of us set and we write our songs together.

12:19 Speaker 10: Whilst writing Don't for Me twice and a couple of

12:22 Speaker 10: our others which are unreleased.

12:23 Speaker 9: We realized, wow, we love playing the sound.

12:26 Speaker 10: It comes so easy to us, like it's definitely the

12:28 Speaker 10: direction we wanted to head, and so we decided to

12:31 Speaker 10: make that kind of move and say, okay, it is

12:33 Speaker 10: quite a big change up going down the more rockier route,

12:36 Speaker 10: but definitely yeah.

12:37 Speaker 9: That's when we decided this is where we want to go.

12:40 Speaker 8: Okay, okay, Yeah, so it sounds like kind of a

12:43 Speaker 8: kind of a combination of both. Right, it's you know,

12:47 Speaker 8: you kind of naturally started doing that, but but then

12:51 Speaker 8: once you realize it's working, you know, and don't exactly Yeah,

12:54 Speaker 8: and it makes sense. I mean, Don't Fool Me Twice

12:56 Speaker 8: is a great track. I definitely want to hear more

12:58 Speaker 8: of that. So that's that's that's really good. And you've

13:01 Speaker 8: done some festivals, right, yes, we have.

13:04 Speaker 9: We did our first set of festivals this year.

13:07 Speaker 10: Yeah.

13:07 Speaker 8: I was looking at this so let's see, uh, come

13:10 Speaker 8: back around. Oh yeah, oh, there's a bunch of them

13:13 Speaker 8: listened here. How many of you done? It looks like

13:14 Speaker 8: you've done quite a few, right, Yeah, so yeah.

13:18 Speaker 9: We've done quite a few.

13:20 Speaker 10: Most noticeable we played Scotland's biggest outdoor festival, Beldrum up

13:25 Speaker 10: in Inverness.

13:25 Speaker 8: Okay.

13:26 Speaker 9: We managed to do two stages there.

13:28 Speaker 10: We did a live electric set and then we also

13:30 Speaker 10: did an acoustic set as well on a slightly smaller stage,

13:33 Speaker 10: which was really fun. And we've done some festivals local

13:37 Speaker 10: to where we live in the west of Scotland as well. Yeah,

13:39 Speaker 10: that's been a nice mix of the smaller ones and

13:42 Speaker 10: then obviously Scotland's biggest, so it'd been really fun.

13:45 Speaker 8: That's great because the thing about festivals is, you know,

13:48 Speaker 8: and I always say, and obviously you know this because

13:50 Speaker 8: you're experiencing it, but I always say, especially for young,

13:54 Speaker 8: new emerging bands, festivals, not only do they get you

13:58 Speaker 8: in front of these very large crowds, so they expose

14:02 Speaker 8: you to you know, a potentially whole new fan base

14:06 Speaker 8: and can help you to build a fan base very quickly,

14:09 Speaker 8: but also the networking opportunities that come with playing festivals

14:12 Speaker 8: it's unparalleled. You know, you meet, you meet all these

14:15 Speaker 8: other artists that you're playing with, but also you know

14:17 Speaker 8: all kinds of industry people at these festivals and that

14:20 Speaker 8: helps you build so you know, so you build an audience,

14:22 Speaker 8: but you also build a network and a reputation within

14:27 Speaker 8: the industry that is so critical. So festivals are if

14:31 Speaker 8: you can play. And we've got a lot of guests.

14:33 Speaker 8: We've had a lot of guests from the UK who

14:35 Speaker 8: who've been you know, we've done a festival or two,

14:37 Speaker 8: but no one who's done as many as you have.

14:40 Speaker 8: And it seems like you really, I mean, you're really

14:43 Speaker 8: just approaching that head on, which is fantastic. I tell

14:46 Speaker 8: everybody play every festival you can because it is so

14:50 Speaker 8: it is so critical. I mean you can make big

14:52 Speaker 8: leaps and bounds as playing festivals. So that's that's fantastic.

14:57 Speaker 9: Absolutely. Yeah.

14:58 Speaker 10: You don't know who's going to be there watching you,

15:00 Speaker 10: so as it's just a great way to reach new people, nuisances,

15:03 Speaker 10: different places, make connections, as you said, so your network,

15:05 Speaker 10: so absolutely And what is.

15:08 Speaker 8: This by the way, the uh it says you sold

15:10 Speaker 8: out the SWG three Poetry Club show. What's that?

15:15 Speaker 9: Yes, So s WG three is a venue in Glasgow.

15:19 Speaker 9: The Poetry Club is the name of the venue.

15:21 Speaker 10: So that was where we did our headline show for

15:24 Speaker 10: our single Feel at All and we managed to completely

15:27 Speaker 10: sell out that show.

15:28 Speaker 8: Oh excellent, excellent, Okay, very good. Yeah, so you're off

15:32 Speaker 8: to a great start. Now are you playing? Are you

15:34 Speaker 8: playing consistently? Are you touring? Are you are you doing

15:37 Speaker 8: a lot of like like what's the live situation?

15:39 Speaker 10: Now?

15:40 Speaker 8: I can tell you here in the United States, a

15:41 Speaker 8: lot of a lot of bands kind of hype, at

15:44 Speaker 8: least in this part of the country, A lot of

15:45 Speaker 8: bands kind of hibernate a little bit in the winter.

15:47 Speaker 8: They you know, they're active recording and writing, but they

15:50 Speaker 8: don't play out as much. But what's what's the situation

15:53 Speaker 8: where you are as far as live shows.

15:56 Speaker 10: So we did our last live show of the year

15:59 Speaker 10: on the set December. That was our headline show for

16:02 Speaker 10: the release of Don't Film Me twice in November so

16:05 Speaker 10: that as well, that was in Glasgow.

16:06 Speaker 9: That was really cool.

16:08 Speaker 10: We are taking a little bit of a break over

16:10 Speaker 10: new year, starting to write some new songs and then

16:13 Speaker 10: in februe March time we're actually going on a tour.

16:16 Speaker 8: Oh outstanding are you now? Are you going on your

16:20 Speaker 8: own tour or are you opening for for somebody? Or

16:23 Speaker 8: what's what are you doing for the tour?

16:28 Speaker 10: So far it's I believe it as a headline tour.

16:30 Speaker 10: I believe it might be a joint headline in one

16:32 Speaker 10: of the locations. It's oh to be one hundred percent

16:37 Speaker 10: confirmed as yet, however, yet it does look as if

16:39 Speaker 10: will be the headline.

16:41 Speaker 9: So it's very exciting.

16:42 Speaker 8: Oh, very good. That is outstanding. Outstanding And can you

16:47 Speaker 8: talk a little bit too about the themes of of

16:50 Speaker 8: your songs because I saw something about you know this

16:53 Speaker 8: is more than you know? You kind of think of it.

16:55 Speaker 8: It's it's not just a band, but a movement, and

16:57 Speaker 8: it's it seems like there's there's certain themes that come up,

17:00 Speaker 8: you know, like empowerment and and uh you know and

17:04 Speaker 8: and uh taking control and and so forth. I mean,

17:07 Speaker 8: can can you talk a little bit about that? And

17:09 Speaker 8: I'm curious how important that is to you as a

17:11 Speaker 8: band to kind of like, you know, do you have

17:13 Speaker 8: a certain message that you're trying to put forth.

17:18 Speaker 10: Yeah, I would definitely say Impowerment's a really good one.

17:21 Speaker 10: Definitely one of the themes. Yeah, I guess like our

17:26 Speaker 10: message is just I suppose that as empowerments really.

17:31 Speaker 9: We just write music.

17:31 Speaker 10: We love what we do, and we want to just

17:33 Speaker 10: put out music that we love to play, we love

17:37 Speaker 10: to listen to, and so yeah, that's that's definitely what I.

17:41 Speaker 9: Would say for that.

17:42 Speaker 8: Yeah, outstanding. Well Will in a moment, I'm gonna play

17:46 Speaker 8: this track November, which is the I think the first

17:50 Speaker 8: song of your band that we've played on the show.

17:53 Speaker 8: But uh, you know, we're always happy to to kind

17:56 Speaker 8: of be the you know, the entry point into American

17:59 Speaker 8: radio for some of these great bands that are that

18:03 Speaker 8: are coming out of your your area. There's so much,

18:05 Speaker 8: so much incredible talent there. But so we're gonna play

18:08 Speaker 8: that track in a moment and we'll let you go.

18:10 Speaker 8: But Kate, thank you so much for joining us. And

18:13 Speaker 8: where's the best place to go online or the best

18:16 Speaker 8: places to go for people to keep up with everything

18:19 Speaker 8: that The Marches is doing, because you've got a lot

18:21 Speaker 8: going on, So we want to make sure our listeners

18:22 Speaker 8: know how they can follow you online.

18:26 Speaker 9: Yes, absolutely so.

18:27 Speaker 10: The best place you can beaches is probably our Instagram.

18:30 Speaker 10: We are The Marches Music on Instagram. We've got blue

18:33 Speaker 10: Tech so you'll be able to find us and you

18:35 Speaker 10: can get our music on Apple Music, in Spotify and

18:37 Speaker 10: all the user of stream insights as well.

18:40 Speaker 8: Outstanding, outstanding. All right, Kate Morrow, thank you so much.

18:43 Speaker 8: We'll let you go. We're going to hit that track.

18:45 Speaker 8: But we will definitely do this again in the future.

18:47 Speaker 8: Like I said, we're big fans. I love the vocals.

18:49 Speaker 8: It's just sounds so good. And I'm glad Fleetwood Matt

18:52 Speaker 8: came up because now that totally makes sense to me.

18:55 Speaker 8: But yes, absolutely, absolutely so, we will do this again

18:59 Speaker 8: in the future. Keep up the great work. We'll talk

19:00 Speaker 8: to you soon. Thanks Kate, thank you so much for

19:04 Speaker 8: having me. Thank you you got it. Bye bye bye.

19:09 Speaker 8: All right, I didn't mean to start the track yet.

19:11 Speaker 8: That is Kate Morrow from the band The Marches, and

19:16 Speaker 8: I really this is another great song. You heard it

19:18 Speaker 8: here first on American radio here on WM and H.

19:20 Speaker 8: This is another great track. This is called November and

19:23 Speaker 8: the band is the Marches.

19:30 Speaker 2: November for Saint Day. Oh change.

19:37 Speaker 3: We rode away as fors go canty.

19:45 Speaker 2: Don't like good daily run.

19:48 Speaker 3: The engines are this say, we rode away as far

19:55 Speaker 3: as lit go.

19:56 Speaker 2: Canty go both beast and snow room. And there is

20:04 Speaker 2: no one here to see.

20:07 Speaker 3: But well, neso, that's no, there's no stuff, no asking

20:13 Speaker 3: beady grace.

20:16 Speaker 5: Can belly.

20:22 Speaker 2: Now let to pick up the pieces.

20:25 Speaker 11: Everybody knowing you're out of rubby chasers.

20:29 Speaker 2: February the funny be in.

20:36 Speaker 12: Stoping chasing a definite in Plascas on second morning.

20:41 Speaker 13: But I am got far know February the fly w

20:51 Speaker 13: the the non Saint Week were both.

20:54 Speaker 3: Yt inside walks behind us now but we were not okay,

21:00 Speaker 3: And I finds it out just thinking, now do we

21:05 Speaker 3: go both.

21:06 Speaker 2: Best and slow root men? But there is no one

21:11 Speaker 2: here to say.

21:13 Speaker 3: But when this so it's no, there's no stopping now

21:18 Speaker 3: a can beady raise.

21:21 Speaker 2: Hay Now I writing to pick up the peace, says.

21:30 Speaker 5: Everybody know out of reach chase.

21:34 Speaker 2: On Fabulary, if only be him stepn'try saying the death

21:44 Speaker 2: in Alaska.

21:45 Speaker 5: Was like no, but I am got far as.

21:49 Speaker 2: Fabulary only.

22:11 Speaker 3: Never left here to pick up the pieces. Everybody, Norman,

22:16 Speaker 3: you're out.

22:16 Speaker 2: Of Maria Chase or it's February. It's funny it'd be.

22:21 Speaker 3: Here nights like cha say every last time.

22:29 Speaker 5: It's like the.

22:30 Speaker 2: Morning, but I ain't got no tebulary.

22:34 Speaker 5: Funny, Well you now want.

22:41 Speaker 2: Anything of the peace?

22:43 Speaker 11: Saverybody knowledge of my beach chase on February.

22:49 Speaker 2: Funny Ben November fourteenth was changed.

23:04 Speaker 8: So good that is November. The band is the Marches.

23:06 Speaker 8: Thank you again to Kate Morrow from the Band the

23:08 Speaker 8: Marches for joining us earlier. I really enjoyed talking with her.

23:11 Speaker 8: And it's all about the vocals with that band. That's

23:14 Speaker 8: so good. I'm actually gonna sneak in one more. We're

23:16 Speaker 8: gonna play one more track from the Marches. This one

23:19 Speaker 8: we have not played on the show before, but it's

23:21 Speaker 8: a short one. It's only three minutes, but it's another

23:24 Speaker 8: great song. I really again, I really really like their

23:26 Speaker 8: sound a lot. We'll play this too. This is called

23:29 Speaker 8: talking too much and again the band is the Marches,

23:40 Speaker 8: the mom she's no luck, but I.

23:42 Speaker 2: Got a bunch.

23:43 Speaker 12: Well it'll be this time.

23:49 Speaker 10: You So.

23:52 Speaker 2: Why can't you see taking it down?

23:55 Speaker 14: Li Spice.

23:57 Speaker 3: Song cry, I.

24:00 Speaker 2: Need inside, Honan, say why can't you be cause you're

24:10 Speaker 2: talking to Mary must Must.

24:13 Speaker 12: Talking yet un intuiting, because you're talking to Mars and

24:21 Speaker 12: mors too much, talking all the accomplished.

24:26 Speaker 2: You're talking yos. How are you being?

24:38 Speaker 13: How you be when I'm gone?

24:41 Speaker 2: Oh it's nothing from me. I didn't last no, so yeah,

24:52 Speaker 2: I need in say ho say, why can't you be?

24:58 Speaker 2: The way? Gotcha talking too much?

25:04 Speaker 12: Too much, too much talking coming Susie, gotcho tuckings er

25:12 Speaker 12: must too much, too much shocking as.

25:16 Speaker 6: Its doing, compting, gotcha talking too.

25:21 Speaker 5: Much to the last, too much talking here, I know

25:25 Speaker 5: I'm in.

25:25 Speaker 2: SOUSI got socking so.

25:29 Speaker 5: Much, too much, too much stock in askins.

25:33 Speaker 2: Sewing cot talking y'all sleep.

25:43 Speaker 11: Ye goscha shocking so much to matter, too much.

25:57 Speaker 2: Stopping here, I know coming suits too much, too much,

26:29 Speaker 2: too much.

26:32 Speaker 8: Oh my god, that is so good talking too much.

26:34 Speaker 8: The band is the Marches. That is so good. By

26:38 Speaker 8: the way, during our conversation with Kate Morrow from the

26:41 Speaker 8: band The Marches, let's see, we had a couple of

26:46 Speaker 8: a couple of messages come in via Matt connorton dot com.

26:49 Speaker 8: Lauren says, absolutely love, don't fool me twice and Louise said,

26:54 Speaker 8: had the Marches on repeat over the festive period, bring

26:59 Speaker 8: on the new year so wonderful. Yep, So the March

27:01 Speaker 8: is getting some love. So thank you again of course

27:04 Speaker 8: to Kate Morrow from the band The Marches for joining us.

27:07 Speaker 8: And if you are listening live on Saturday. Coming up

27:10 Speaker 8: in the third hour, we have the Far North. Really

27:13 Speaker 8: looking forward to speaking with Lee Wilding from the Far North.

27:19 Speaker 8: It's actually a solo project. It sounds like the name

27:21 Speaker 8: of a band, but it's actually a solo project that

27:23 Speaker 8: seems to be a trend. But his music is amazing too.

27:28 Speaker 8: So that'll be coming up today on the third hour.

27:30 Speaker 8: In the meantime, we do have some more music news

27:33 Speaker 8: to share. This is very interesting to me if you

27:37 Speaker 8: are interested in music industry news. Hopefully it's interesting to

27:40 Speaker 8: you music business worldwide. Reporting that Billboard just made free

27:46 Speaker 8: streams worth more on its US charts, YouTube is not

27:50 Speaker 8: happy and is pulling its data. So Billboard, of course,

27:55 Speaker 8: you know, they've got their various charts. I used to

27:58 Speaker 8: love when I was a kid, because I was music

28:00 Speaker 8: industry nerd, probably starting in high school. I would I

28:07 Speaker 8: remember going to the school library and I would always

28:10 Speaker 8: look for the newest Billboard magazine and I would read that.

28:13 Speaker 8: That's how much of a music industry nerd I was

28:15 Speaker 8: from a very young age.

28:16 Speaker 10: You know.

28:16 Speaker 8: I obviously I played an instrument and I was into

28:20 Speaker 8: playing music, but I was also very fascinated by the

28:22 Speaker 8: music business. So I would read Billboard. I wouldn't necessarily

28:25 Speaker 8: read it cover to cover. There's some things I wouldn't

28:27 Speaker 8: necessarily pay attention to, but I always like to look

28:29 Speaker 8: at the charts. You know, you've got the Billboard Hot

28:32 Speaker 8: one hundred, and you've got you've got all these different

28:34 Speaker 8: charts in Billboard. And of course now you can access

28:36 Speaker 8: it all online if you have a subscription, which I

28:38 Speaker 8: don't because I'm not going to spend that money. But

28:42 Speaker 8: but the way that Billboards, so the way that Billboard

28:46 Speaker 8: used to back in the day, back in my day.

28:49 Speaker 8: The way that is, you know, what would go into

28:53 Speaker 8: the into calculating the chart positions would be metrics like sales,

28:58 Speaker 8: because back then singles would you know, you would have singles.

29:03 Speaker 8: You would have you had Vinyl forty five records if

29:06 Speaker 8: you go way back. But of course you also had

29:08 Speaker 8: cut singles if you remember cus singles. I was in

29:12 Speaker 8: a band called the Jinkston We used to joke that

29:14 Speaker 8: we were going to release a single.

29:16 Speaker 2: We never did.

29:17 Speaker 8: And of course you had CD singles and so forth,

29:19 Speaker 8: so you had single sales, but you also of course

29:24 Speaker 8: had radio airplay. Radio airplay would play a big role

29:28 Speaker 8: in how Billboard would calculate the charts, and I'm sure

29:32 Speaker 8: it still does obviously, But and also MTV. I don't

29:37 Speaker 8: know if but I don't think MTV. I don't think

29:41 Speaker 8: rotation of a music video on MTV was ever a

29:44 Speaker 8: part of the data that Billboard would use. I could

29:47 Speaker 8: be mistaken about that, but I don't think that it was.

29:51 Speaker 8: I don't think they ever used that data. As far

29:53 Speaker 8: as the charts, I think it was all airplay and sales,

29:56 Speaker 8: not not MTV or vh one or anything like that. Again,

30:00 Speaker 8: I'm pretty sure I'm right about that. But but so

30:02 Speaker 8: today it's all different, right, because we have the Internet.

30:05 Speaker 8: So today things that go into Billboard charts are things like, uh,

30:10 Speaker 8: you know, how many people are listening to a song online?

30:12 Speaker 8: Radio airplay is still, of course a big part of it,

30:15 Speaker 8: but but online, what's happening online? You know, it's much

30:19 Speaker 8: more complicated now, right, It's it's because it used to be.

30:23 Speaker 8: If you're if the only data points you're using are

30:26 Speaker 8: you know, you can have a concrete number you can

30:28 Speaker 8: look at, right, how many did this track sell in

30:32 Speaker 8: terms of singles? How many did it sell in the stores?

30:37 Speaker 8: And you know radio stations when they report their playlist data,

30:41 Speaker 8: you know, how many spins did this get? Okay, these

30:43 Speaker 8: are these are metrics that we can use and calculate,

30:48 Speaker 8: and you know, they have whatever formulas they use, obviously

30:50 Speaker 8: one ways more than the other. But but you figure

30:53 Speaker 8: it out, right, you have hard numbers to look at,

30:55 Speaker 8: and I guess you still have hard numbers to look at.

30:57 Speaker 8: But now it's like, you know, and you've got many

31:01 Speaker 8: different streaming services and it's a lot, right, So it's

31:05 Speaker 8: all much more complicated now. One of the ways that

31:10 Speaker 8: people access music to listen to his YouTube. It's the

31:13 Speaker 8: easiest way, you know, you can go on YouTube finds

31:16 Speaker 8: us about anything. You're not going to get as high

31:18 Speaker 8: a quality file as you would if you actually purchase

31:22 Speaker 8: a wavefile or an MP three. A wave sounds better

31:25 Speaker 8: than an MP three, a CD sounds better than either one,

31:28 Speaker 8: and a vinyl record sounds better than all of it.

31:31 Speaker 8: But but you can go on YouTube and just listen

31:35 Speaker 8: to music. And that's what a lot of people do.

31:38 Speaker 8: That's how a lot of people discover new music is YouTube.

31:41 Speaker 8: So here's what's happening. Just give you some context for

31:44 Speaker 8: what we're talking about here. So getting back to the story,

31:48 Speaker 8: so YouTube says again this is from music business worldwide

31:52 Speaker 8: dot com. YouTube says it will soon stop providing data

31:56 Speaker 8: to Billboard for inclusion in the US charts, and a

32:00 Speaker 8: partnership that has lasted more than a decade. The decision,

32:04 Speaker 8: announced on December seventeenth by Lee or Cohen, YouTube's global

32:08 Speaker 8: head of music, comes just one day after Billboard revealed

32:12 Speaker 8: changes to its chart methodology that will actually narrow the

32:18 Speaker 8: waiting gap between paid and ad sponsored streams. So the

32:23 Speaker 8: waiting gap, and I did refer to it, but so

32:26 Speaker 8: different metrics have different weight, so you might have However,

32:31 Speaker 8: many paid streams might have a certain weight AD supported

32:36 Speaker 8: streams which are free. You know, like if you go

32:39 Speaker 8: to listen to a song on YouTube, but before you

32:42 Speaker 8: can actually hear the song, you've got an AD that

32:44 Speaker 8: you have to click skip on, or you have two ads,

32:46 Speaker 8: one you can't skip and then the second one you can.

32:48 Speaker 8: That's usually how it seems to go, right, So that's

32:51 Speaker 8: an AD supported stream, So that's free. So in theory,

32:55 Speaker 8: paid streams would weigh more if you're calculating where on

33:00 Speaker 8: the chart this track is gonna go this single, you're

33:02 Speaker 8: gonna you know, because people who are actually paying for

33:05 Speaker 8: the stream or for the track, I should say people

33:09 Speaker 8: are like if they're paying to download it, for example,

33:11 Speaker 8: then you know they might care about it a little

33:13 Speaker 8: bit more than people who are just going on YouTube

33:15 Speaker 8: and listening to it for free, so you weigh that.

33:19 Speaker 8: So so there they've narrowed the gap between in terms

33:24 Speaker 8: of what each of those metrics weighs paid versus free. Essentially, okay,

33:29 Speaker 8: under Billboard's current formula for the Billboard two hundred one

33:33 Speaker 8: album unit equals one two hundred and fifty paid subscription

33:40 Speaker 8: streams or three thousand, seven hundred and fifty AD supported streams,

33:44 Speaker 8: a one to three ratio. Billboard's new methodology announced yesterday.

33:51 Speaker 8: Well this is this was this went up a few

33:52 Speaker 8: days ago. Announced on December sixteenth, Titans that ratio to

33:57 Speaker 8: one to two point five, with one album unit now

34:00 Speaker 8: equaling one thousand paid streams or twenty five hundred AD

34:03 Speaker 8: supported streams. The same ratio is being applied to the

34:07 Speaker 8: Hot one hundred chart. In other words, paid streams. This

34:11 Speaker 8: is the important part. Paid streams will still be weighted

34:15 Speaker 8: more favorably than ad supported plays, but by a smaller

34:19 Speaker 8: margin than before. That's interesting. Yet, in a statement today,

34:26 Speaker 8: Lee or Cohen said the changes do not go far

34:29 Speaker 8: enough YouTube. This is why YouTube is not happy. YouTube

34:34 Speaker 8: wants all streams to be counted equally on Billboard's charts,

34:39 Speaker 8: regardless of whether they come from paid subscriptions or ad

34:43 Speaker 8: supported services. Before we go any further what Cohen said,

34:47 Speaker 8: let me just say this, I would think that that

34:51 Speaker 8: would be a hell of a lot easier for Billboard,

34:55 Speaker 8: right because if they did it that way, if they

34:58 Speaker 8: took his his suggestion, just stop giving anything more weight

35:04 Speaker 8: than anything else. You just count it. You just count

35:06 Speaker 8: it all. Just the numbers are. What the numbers are,

35:10 Speaker 8: You count it all, you add it up, there's your numbers.

35:13 Speaker 8: Because it just seems like it would be a lot easier.

35:18 Speaker 12: Now.

35:18 Speaker 8: Maybe maybe I say that because as someone who's not

35:21 Speaker 8: good at math, I want math and numbers to be easy.

35:25 Speaker 8: That's my natural I have a natural impulse. I have

35:27 Speaker 8: a bias there, right, I want I always want math

35:30 Speaker 8: and numbers to be easy because I'm not good at math.

35:35 Speaker 8: But you know, it does seem like it would be simpler, right,

35:38 Speaker 8: It'd be a lot more efficient. I mean, they still

35:44 Speaker 8: I can't imagine how many data analysts Billboard has working

35:47 Speaker 8: for them. I'm sure it's a lot. But here's what

35:51 Speaker 8: Cohen said in his statement. Though he said quote Billboard

35:54 Speaker 8: uses an outdated formula that weights subscription supported streams higher

35:59 Speaker 8: than add supported. This doesn't reflect how fans engage with

36:04 Speaker 8: music today and ignores the massive engagement from fans who

36:09 Speaker 8: don't have a subscription. We believe every fan matters and

36:13 Speaker 8: every play should count equally. Therefore, after January sixteen, YouTube

36:19 Speaker 8: data will no longer be delivered or factored into the

36:24 Speaker 8: US Billboard Charts unquote. Now, in thinking about that, how

36:35 Speaker 8: does that affect how does that affect artists and labels

36:37 Speaker 8: and everybody who has music streaming on YouTube? Well, if

36:44 Speaker 8: you're getting a lot of streams on YouTube or at

36:48 Speaker 8: well here's here's something. What if you're an artist who

36:51 Speaker 8: does not put your music on Spotify because you're mad

36:57 Speaker 8: about how little Spotify pays out, which is a whole

37:00 Speaker 8: other subject. I'm not trying to take that side street,

37:03 Speaker 8: but I'm just it works for just this example. Say

37:07 Speaker 8: you're an artist, and there's a lot of them. There's

37:10 Speaker 8: both established artists who pulled their music from Spotify because

37:12 Speaker 8: they're mad, and there's there's independent artists. There's small artists

37:16 Speaker 8: who just don't want to put their music on Spotify,

37:18 Speaker 8: which I personally think is a mistake. I think you

37:20 Speaker 8: should still put your music on Spotify, even if you're

37:23 Speaker 8: not happy that they don't pay you anything. Because discoverability

37:27 Speaker 8: is a term that I like to use and that

37:28 Speaker 8: we use in the industry, that you have to make

37:30 Speaker 8: your music discoverable in order for people to discover it.

37:34 Speaker 8: So you want to be in as many places as possible.

37:36 Speaker 8: That's my philosophy. Some people disagree. We've had guests on

37:38 Speaker 8: the show who disagree. That's fine. But what if you're

37:43 Speaker 8: not on Spotify for whatever reasons, whatever your reasons are,

37:47 Speaker 8: and so YouTube is your fallback. YouTube is where people

37:49 Speaker 8: are going to find you and you want to be charting. Now,

37:52 Speaker 8: if you're an unsigned or small independent artist, you know

37:57 Speaker 8: you might maybe it doesn't matter to you because you

38:00 Speaker 8: know that you're not going to chart, you know, unless

38:02 Speaker 8: you get like, unless you blow up, you know, unless

38:06 Speaker 8: you get really big, you're not going to even have

38:09 Speaker 8: a shot at charting in Billboard anyway. So maybe it

38:11 Speaker 8: doesn't matter to you, But if that's the long term goal,

38:17 Speaker 8: it should matter to you. So if you are not

38:21 Speaker 8: on Spotify, or if you are on Spotify, but that's

38:26 Speaker 8: not where you're catching fire. You're catching fire on YouTube.

38:30 Speaker 8: That's where you're getting the spins, the plays. Spins more

38:35 Speaker 8: of a radio term, but the plays, you're the streams

38:38 Speaker 8: on YouTube. You want those numbers to count, do you not?

38:41 Speaker 8: So this is this is going to upset some people.

38:51 Speaker 8: So let me actually let me read this from from

38:55 Speaker 8: Cohen's quote again because I just want to make sure

38:59 Speaker 8: this is the most important thing that he says here,

39:01 Speaker 8: streaming is the primary way people experience music, making up

39:04 Speaker 8: eighty four percent of US recorded music revenue. We're simply

39:07 Speaker 8: asking that every stream has counted fairly and equally, whether

39:10 Speaker 8: it is subscription based or ad supported, because every fan

39:13 Speaker 8: matters and every play should count. Unquote, YouTube was first

39:19 Speaker 8: included in the Billboard Hot one hundred in February of

39:22 Speaker 8: twenty thirteen. I didn't know that it was that recent.

39:25 Speaker 8: I mean, we're coming up on twenty twenty six, so

39:28 Speaker 8: thirteen years ago, I guess. But still I for some

39:31 Speaker 8: reason I thought it had been even sooner than that,

39:33 Speaker 8: but it wasn't so, and that was probably a big

39:36 Speaker 8: decision on Billboard's part when they when they decided to

39:38 Speaker 8: do that. So YouTube was first included in the Billboard

39:42 Speaker 8: Hot one hundred in February of twenty thirteen, and was

39:45 Speaker 8: later added to the Billboard two hundred album chart in

39:48 Speaker 8: January of twenty twenty. Cohen said, quote, after a decade

39:53 Speaker 8: long partnership and extensive discussions, Billboard are unwilling to make

39:58 Speaker 8: meaningful changes. We are committed to achieving equitable representation across

40:03 Speaker 8: the charts and hopefully can work with Billboard to return

40:06 Speaker 8: to theirs unquote the question this is interesting. So the

40:15 Speaker 8: question of how to wait differences different types of streams

40:20 Speaker 8: has been contested since Billboard first introduced tiered streaming values

40:25 Speaker 8: in twenty eighteen. Prior to that change, all streams, whether

40:30 Speaker 8: from paid services like Apple Music or at supported platforms

40:33 Speaker 8: like YouTube, were counted equally. So there was a time

40:37 Speaker 8: when when Billboard was just counting them all equally and

40:40 Speaker 8: not waiting one source of stream versus the other. In

40:47 Speaker 8: a twenty seventeen interview with Music Business Worldwide, Apple's Jimmy

40:50 Speaker 8: Iovine argued that having YouTube streams count equally alongside paid

40:55 Speaker 8: for music on Billboard's Hot one hundred disadvantaged artists.

41:00 Speaker 10: Yes.

41:03 Speaker 8: I Havin was unequivocal about how his view about his

41:07 Speaker 8: view that paid streams should carry more weight on industry charts.

41:12 Speaker 8: He said, quote, I'll put it this way, people who

41:15 Speaker 8: pay for subscriptions should be advantaged. The labels owe it

41:19 Speaker 8: to their customers. The most important thing for labels is

41:22 Speaker 8: to make the paid services compelling and entertaining, and don't

41:25 Speaker 8: make free services as good as the paid services. Is

41:29 Speaker 8: that not obvious? Unquote. I don't necessarily disagree with his logic.

41:39 Speaker 8: I understand the argument that he's making. I think we

41:41 Speaker 8: all can. I just but again, it just makes it

41:46 Speaker 8: I mean, doesn't it make it more complicated? The more

41:48 Speaker 8: complicated you make it too, aren't there more chances for

41:53 Speaker 8: there to be errors? Calculating errors, math errors? Again I'm

41:57 Speaker 8: thinking of I know, I'm approaching it with a bias

42:00 Speaker 8: of someone who the bias of someone who doesn't like math.

42:04 Speaker 8: But I'm just saying, I mean, I think it's I

42:08 Speaker 8: think when you try to weight different sources, it just

42:12 Speaker 8: makes it complicated, because then how do you figure out

42:16 Speaker 8: how much you should I mean, you know, obviously Billboard

42:19 Speaker 8: is trying to figure that out now, they're changing how

42:21 Speaker 8: much they weigh certain sources of streams. When the twenty

42:25 Speaker 8: eighteen changes were implemented, paid subscription streams were weighted more

42:29 Speaker 8: heavily than AD supported streams on both charts. On the

42:32 Speaker 8: Hot one hundred, paid streams were given full point value

42:36 Speaker 8: AD supported streams two thirds and programmed streams half on

42:42 Speaker 8: the Billboard two hundred, it took three times as many

42:45 Speaker 8: AD supported streams as paid streams to equal one album unit.

42:52 Speaker 8: Recent data shows that the US recorded music industries overall

42:55 Speaker 8: streaming revenue performance in twenty twenty four was dragged down

42:59 Speaker 8: by payout from on demand AD supported music services, including

43:04 Speaker 8: YouTube and Spotify's Freemium tier. Combined, these platforms saw their

43:10 Speaker 8: revenue contribution to the recorded music industry decline in the

43:12 Speaker 8: last year, down one point eight percent year over year

43:16 Speaker 8: to one point eight three billion. Meanwhile, on demand paid

43:20 Speaker 8: subscription platforms contributed eleven point six eighty five billion dollars

43:26 Speaker 8: to recorded music right soldiers, up four point six percent

43:30 Speaker 8: year over year. The disparity and revenue per stream between

43:32 Speaker 8: paid and free tiers is at the heart of the debate.

43:37 Speaker 8: As Iving said in twenty seventeen, quote, the fact is

43:43 Speaker 8: that free quote unquote in music streaming is so technically

43:47 Speaker 8: good and ubiquitous that it's stunning the growth of PA

43:51 Speaker 8: that it's stunting the growth of paid streaming. Two things

43:54 Speaker 8: have to happen. Free has to become more difficult or restricted,

43:58 Speaker 8: and the paid services have to get better unquote. While

44:01 Speaker 8: free is never going to become more difficult or restricted.

44:04 Speaker 8: I mean, that's not going to happen. Ever, Cohen's announcement

44:08 Speaker 8: represents a reversal from twenty nineteen, when He welcomed YouTube's

44:12 Speaker 8: inclusion in the Billboard two hundred, calling it a quote

44:15 Speaker 8: very important moment and making the chart a more accurate

44:17 Speaker 8: representation of what people are listening to unquote. At that time,

44:22 Speaker 8: Cohen said, quote genres like Latin hip hop and electronic,

44:26 Speaker 8: which consistently dominate the YouTube charts, will now be properly

44:30 Speaker 8: recognized for their popularity. This is another great step in

44:34 Speaker 8: bringing YouTube and the industry together unquote. YouTube reported in

44:39 Speaker 8: October that it paid more than eight billion to the

44:41 Speaker 8: music industry during the twelve months from July twenty four

44:44 Speaker 8: to June twenty five, covering revenue from both advertising and

44:48 Speaker 8: subscriptions on the Google owned platform. In his statement December seventeenth,

44:52 Speaker 8: Cohen directed fans to YouTube Zone charts as an alternative

44:56 Speaker 8: to Billboard's lists. He said, quote, if you're curious about

44:59 Speaker 8: what we music is making waves on YouTube, you can

45:01 Speaker 8: visit our charts. Unquote. Well that's a good point, I guess.

45:06 Speaker 8: So there you have it. The other thing happening very

45:12 Speaker 8: very quickly with YouTube, and this is from Digitalmusicnews dot com.

45:16 Speaker 8: YouTube is reportedly terminating channels behind fake AI film trailers.

45:21 Speaker 8: Our AI music page takedowns. Next, this is short, but

45:26 Speaker 8: let's do this quickly before we go to break. YouTube

45:29 Speaker 8: has reportedly started terminating some of the channels be behind

45:33 Speaker 8: unauthorized artificial intelligence film trailers. Is a crackdown on AI

45:37 Speaker 8: music accounts coming, though it'll be up to the new

45:42 Speaker 8: year to deliver an answer, we can be sure of

45:45 Speaker 8: two related points at present. First, the video sharing giant

45:50 Speaker 8: has booted screen Culture and KH Studio, a pair of

45:54 Speaker 8: prominent fake trailer specialists, according to Deadline from the platform

45:59 Speaker 8: all together, so both those channels have been booted per

46:03 Speaker 8: the same outlet. The terminations followed considerable pushback against the channels,

46:08 Speaker 8: and while it probably doesn't need sane said pushback was

46:10 Speaker 8: set in motion by the involved uploads reach and adjacent

46:14 Speaker 8: ability to confuse fans or at a minimum, distract from

46:18 Speaker 8: proper trailers. So, in other words, these channels were making

46:22 Speaker 8: their own custom trailers for movies. Screen Culture allegedly pumped

46:28 Speaker 8: out twenty three fake trailers for the Fantastic four First Steps,

46:33 Speaker 8: with a few outranking the actual trailer itself, boasting around

46:37 Speaker 8: seventeen million views in search results. Long story short, YouTube

46:42 Speaker 8: had reportedly slapped screen Culture and KH studio with a

46:46 Speaker 8: monetization time out, which ended when they started adding disclaimers

46:51 Speaker 8: like fan trailer and parody to their upload titles. But

46:55 Speaker 8: the channels, having reportedly generated a combined one billion or

46:59 Speaker 8: so of views, are said to have reverted to their

47:01 Speaker 8: old ways, an alleged move that then drove the takedowns. Second,

47:10 Speaker 8: we can also state with confidence that there's a massive

47:12 Speaker 8: amount of AI audio inundating DSPs and in the process

47:16 Speaker 8: stealing fans, playlist spots and royalties from real artists, and

47:20 Speaker 8: we talk about that on the show all the time.

47:23 Speaker 8: The impact that AI is having, as most are aware,

47:26 Speaker 8: allegedly infringing machine made tracks as well as tracks that

47:30 Speaker 8: make too big a commercial splash, typically face takedowns and

47:34 Speaker 8: or threats of legal action. In general. However, it's a

47:37 Speaker 8: different story for the avalanche of AI songs with comparatively

47:41 Speaker 8: modest stream and view counts. As demonstrated by hard data

47:44 Speaker 8: and cursory DSB searches alike. These creations, while not yet

47:48 Speaker 8: outshining genuine music, are subtily expanding their presence on platforms

47:52 Speaker 8: such as YouTube and Spotify. Well, the thing is as

47:57 Speaker 8: long as you as long as your channel doesn't get

48:00 Speaker 8: that huge. You stay under the wire. If you under

48:03 Speaker 8: the radar would be a better way of putting it right. So,

48:05 Speaker 8: if your channel gets too big, you might get, for example,

48:09 Speaker 8: you might get copyright claims or I'm sorry, copyright strikes.

48:13 Speaker 8: Copyright claims are one thing, copyright strikes or another. You

48:15 Speaker 8: don't want copyright strikes. You can get copyright claims. I

48:18 Speaker 8: get copyright claims all the time. I put you know,

48:21 Speaker 8: this radio show streams on YouTube and obviously we're playing

48:24 Speaker 8: copyrighted music. I can never monetize this, that's fine. I

48:28 Speaker 8: can never monetize the show on YouTube, that's fine. Couldn't

48:31 Speaker 8: do that anyway. It contains advertising. I don't care about that.

48:34 Speaker 8: I'm just streaming it to YouTube as it just gives

48:36 Speaker 8: people another way to enjoy the show. They don't block

48:39 Speaker 8: my videos, they just won't ever let me monetize them.

48:42 Speaker 8: And again I'm fine with that. But if if I

48:47 Speaker 8: got big enough where you know, a label, I mean,

48:51 Speaker 8: I'm a small time, but if I were like this huge,

48:56 Speaker 8: I mean, if I were big enough, I wouldn't I

48:57 Speaker 8: would just not stream the show on YouTube any more

49:00 Speaker 8: because I would know, because I would see what was

49:02 Speaker 8: coming right. If I were big enough that I got

49:04 Speaker 8: the attention of the labels, they you know, somebody might

49:07 Speaker 8: issue an actual copyright strike, and a copyright strike would

49:10 Speaker 8: put my channel in danger. So I wouldn't do that.

49:14 Speaker 8: You know, I'm at a level where I you know,

49:15 Speaker 8: I do it. It's fine, I get copyright claims, but

49:18 Speaker 8: that just means you can never monetize this video. Fine,

49:21 Speaker 8: I can't monetize any of them. It's fine. But but

49:28 Speaker 8: if you get big enough, YouTube notices or someone notices

49:31 Speaker 8: who will then complain to YouTube effectively, and then YouTube

49:35 Speaker 8: will begin to penalize you. You know, the first step

49:39 Speaker 8: might be just demonetizing you. If you have a big channel.

49:41 Speaker 8: That's if you're monetized and you're making money, you know

49:45 Speaker 8: you don't want to lose. That's that's the first thing

49:47 Speaker 8: YouTube might do to you is demonetize your channel. Instead

49:50 Speaker 8: of just demonetizing specific videos, they might demonetize your entire channel,

49:54 Speaker 8: and then you've just lost a source of income. And

49:56 Speaker 8: then the next step might be they're going to take

49:58 Speaker 8: you down. There's a lot more to this. The article

50:04 Speaker 8: itself is short, but we're we're getting to that point

50:07 Speaker 8: where we got to hit a commercial break. Then when

50:09 Speaker 8: we come back in the third hour, for those of

50:11 Speaker 8: you listening live on Saturday, we're going to talk to

50:13 Speaker 8: Lee Wilding from the Far North, another great project, and

50:18 Speaker 8: we've we've played some of their music on the show,

50:21 Speaker 8: some of his music on the show, but just really

50:24 Speaker 8: really good stuff. So there is a lot more to come. Again,

50:27 Speaker 8: if you are just joining us, we are live, and yes,

50:29 Speaker 8: we are live, even though it's that that weird dead zone,

50:33 Speaker 8: that that time distortion that takes place every year between

50:36 Speaker 8: Christmas Day and New Year's Day, is that you know,

50:40 Speaker 8: that that weird time where it's hard to even remember

50:42 Speaker 8: what day of the week it is because time is

50:44 Speaker 8: just strange. But yes, so we are live. It is Saturday,

50:51 Speaker 8: December twenty seventh, twenty twenty five. This is Matt Connorton Unleashed,

50:55 Speaker 8: broadcasting live from the studios of WMNH ninety five point

50:59 Speaker 8: three FM. By the way, we were live last night

51:01 Speaker 8: too for Retrospectrum Radio. If you missed it, Santa came

51:05 Speaker 8: and gave us his post mortem of the holidays. It

51:07 Speaker 8: was very entertaining. You can check that out Retrospectrum Radio

51:10 Speaker 8: with poly c every Friday night from eight to ten

51:13 Speaker 8: pm Eastern here on WMNH ninety five point three FM.

51:17 Speaker 8: Check social listings. As Paul likes to say, but let's

51:19 Speaker 8: take a break. We'll show some love to our amazing sponsors,

51:22 Speaker 8: and then when we come back in the third hour,

51:24 Speaker 8: the far North. So don't go anywhere. There's plenty more

51:27 Speaker 8: to come.

51:33 Speaker 15: Nana's Kitchen and Pizzeria.

51:35 Speaker 16: From Nana's hands, It's to your plate tradition, love and taste.

51:41 Speaker 16: That's great, slow fermented dough, flavor so true, each bite

51:50 Speaker 16: as story made.

51:53 Speaker 10: Just for you.

51:54 Speaker 15: Six o three two three two nine three six six

51:59 Speaker 15: Nana's Kitchen and Pizza Ree fifteen Dartmouth, Dry Auburn, New Hampshire.

52:05 Speaker 10: Kid Piz.

52:12 Speaker 17: Luigi's Pizza Bar and Grilled On.

52:16 Speaker 6: Let's raise a slyes On Hide with topics of the ground, Itizza,

52:21 Speaker 6: Pizza Barr.

52:22 Speaker 17: Mine Luigi's Pizza Barre and Grill seven twelve Valley Street, Manchester.

52:28 Speaker 17: Come on in or call six two two one zero

52:31 Speaker 17: two one. Luigi keeping the tradition alive since nineteen seventy five.

52:38 Speaker 2: Pizza for every one.

52:40 Speaker 1: Come join a past to night with each slice, sense

52:45 Speaker 1: of it. Everything feels so.

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52:53 Speaker 14: that stands by your side. With over forty years of experience,

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53:00 Speaker 14: As former state prosecutors, our attorneys have the knowledge and

53:03 Speaker 14: trial experience to provide an aggressive defense against any charge,

53:07 Speaker 14: from duys to homicides. If you've been injured, our compassionate

53:11 Speaker 14: team will assess your case and fight for the compensation

53:14 Speaker 14: you deserve. Serving all of New Hampshire, Craigan Getzulis is

53:17 Speaker 14: here when you need us most. Visit Craigatzulis dot com

53:20 Speaker 14: for a free consultation. Craigan get Zulus, your advocates, your allies.

53:25 Speaker 18: Bring your kitchen to life with Queen Citycabinetry, located at

53:30 Speaker 18: eighty seven Elm Street in the historic Sunbeam Wall in Manchester,

53:34 Speaker 18: open Monday through Friday nine am to five thirty pm

53:38 Speaker 18: in Saturday's ten am to two pm. They can be

53:42 Speaker 18: reached at six h three two two two to zero

53:46 Speaker 18: zero seven or on the web at Queen Citycabinatry NH

53:51 Speaker 18: dot com. Come see the possibilities. Queen Citycabinatry another crowd

53:56 Speaker 18: sponsor of WMNH.

53:58 Speaker 19: Hey everyone's rob as a veto oh host a granite

54:00 Speaker 19: state of mind, and I want to tell you about

54:02 Speaker 19: Pembrook City Limits and the Historic Suncook Village. PCL is

54:05 Speaker 19: an award winning bar, restaurant and music venue where there's

54:08 Speaker 19: live music five days a week and twice on Saturdays,

54:11 Speaker 19: everything from blues, country, folk, funk, and a.

54:13 Speaker 2: Whole lot of jazz.

54:14 Speaker 19: We have twelve craft beers on tap dedicated to the

54:17 Speaker 19: local brewers in the area and some of the friendliest

54:19 Speaker 19: bartenders around. Please come visit Pembrook City Limits at one

54:23 Speaker 19: thirty four Main Street, the historic sunk Cook Village, only

54:26 Speaker 19: six miles outside of Manchester. Open Tuesdays to Wednesdays four

54:30 Speaker 19: to ten Thursday's Sunday eleven to ten. Pembrook City Limits

54:34 Speaker 19: where it's all about the music.

54:35 Speaker 17: Disney's Cafe is the place to put a smile on

54:38 Speaker 17: your face.

54:39 Speaker 1: Judy and the crew will take care of you, bring

54:41 Speaker 1: your appetite and treat your.

54:43 Speaker 17: Taste buds fry Disneys Cafe is always a winning choice breakfast, lunch,

54:48 Speaker 17: or supper. Disney's Cafe at eight sixty Elm Street in

54:52 Speaker 17: downtown Manchester. Dine in, take out or make a reservation

54:56 Speaker 17: call six oh three, six oh six two five three

55:00 Speaker 17: to two, Eat, drink and be happy Buzine's Cafe.

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55:07 Speaker 20: your own personal or business computer needs, trust growl In Computers,

55:11 Speaker 20: located on Elm Street in Manchester. Grolin handles computer repair,

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55:44 Speaker 4: Seven times out of ten.

55:46 Speaker 2: We listened to our music at.

55:48 Speaker 16: Night dot con the titled book business program.

55:54 Speaker 17: Late Night to Light with DJ Bidas right here on WMNH, Manchester.

55:58 Speaker 1: You want to know why because Saturdays and Sunday nights

56:03 Speaker 1: midnight to four am.

56:05 Speaker 15: This hour on WMNH is sponsored by CGI Business Solutions,

56:11 Speaker 15: located at five Dartmouth Drive in Auburn. They serve all

56:15 Speaker 15: your business needs including employee benefits, planning, corporate design and

56:19 Speaker 15: business administration, investments and wealth management and customized business insurance.

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56:37 Speaker 21: Behold the harmony of airwaves as you immerse yourself in

56:41 Speaker 21: the captivating frequencies of w m NHLP the sunic cart

56:45 Speaker 21: beats of Manchesters.

56:46 Speaker 1: They're transcending through.

56:47 Speaker 21: The ether at ninety five point three megahertz frequency modulation.

56:51 Speaker 21: Our transmissions M and E from the ZF one thousand

56:54 Speaker 21: Elm streets. It's insurant through the hearts of our creative

56:56 Speaker 21: realm at one nineteen Canal Street. We're Innovation and Collode.

57:01 Speaker 21: They're the improor moder of Manchester Public Television Service in

57:04 Speaker 21: the venerable city of Manchester, New Hampshire, USA. Enrich your

57:08 Speaker 21: auditory journey with the depth of our license to wesn'tspt

57:12 Speaker 21: your missives. Do w m n H ninety five three

57:14 Speaker 21: at gmail dot com, or to reverse the virtual corridors

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57:36 Speaker 1: W m N h rip the Novels