Mat Hayward/Getty Imagesīut the systems connecting artists and brands are sharper. Luke Steele and Empire of the Sun have benefited from a Honda ad campaign. UMA even hosts small showcase gigs not for radio executives but for advertising agencies and band managers.Īdvertising placements are not new Marvin Gaye's I Heard It Through The Grapevine boosted the Levi's brand in 1985. ![]() "It's definitely a healthy part of our business now and we've really focused on it creatively." Revenue for Universal Music Australia's licensing and band partnership business had doubled in the last five years, and is now approaching eight figures, said Roddy Campbell, UMA's managing director of new business. Yet one deal can make a band.Īustralian acts have been quick to prosper with a song able to bring in up to $500,000 if used for a year-long national campaign. "And the money from sync placement can be substantial."Īs low-paying streaming services such as Spotify take audiences from music sales, the returns to artists are diminishing. "A lot of traditional income streams have dried up or are not as lucrative as they were," said music licensing agent Tyler McLoughlan. Grammy Award-winning artist Flume provided an unreleased track to car manufacturer Holden, which repositioned as a younger brand late last year. ![]() ![]() The licensing of music for advertising, events, film and television has grown so rapidly it can now build a music act quicker than radio airplay. Such is the power of music "synchronisation". Late last year, Empire of the Sun's single Walking On A Dream re-entered the US Billboard charts, eight years after its release, after featuring in a new American advertising campaign for Honda.
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