“The Sound of Tomorrow”
From Underground to Mainstream
An exploration of evolving genres (Future Bass) and electronic music trends

Alexander Foing – June 2015
Berklee College of Music, Valencia

Table of Contents

v Abstract ……………………............................ 3
v General Introduction ….……………............. 4
Ø Research Questions ……………………… 5
v Literature Review ………………………….... 6
Ø Background………………………………... 6
Ø Context …………………………………….. 10
v Methodology ………………………………… 12
v Analysis ……………………………………… 15
Ø Description ……………...………………… 16
Ø Findings …………………………………… 23
v Conclusion …………………………………... 24
Ø Wrap Up …………………………………… 24
Ø Limitations ……...………………………… 25
Ø Further Research ………………………… 26
v Bibliography …………………………………. 27


 

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Abstract
This research project is intended to document the rise of an Underground
Genre as it evolves and becomes a Mainstream attraction. The aim is to
create a roadmap of the scene, and determine the underlying drivers of
success (what factors are causing high levels of growth across the spectrum).
The genre selected for this task is entitled “Future Bass”, a relatively new
phenomenon that has become increasingly popular in America, Europe, and
in the world of Electronic music. The sound is best described as a global
melting pot of styles combining hip-hop, jazz & soul, and electronic music with
signature EDM melodies, bass and synths.
To provide a manuscript of its growth, a database was created measuring a
multitude of social media metrics over a 6-month period (SoundCloud,
Facebook, Twitter, Youtube, and Instagram Followers). Almost 200
artists/labels were selected from 6 regions including: UK, USA, France,
Australia, Canada, and Holland. Due to the heavy quantitative nature of this
research, I used a quantitative inductive approach (where data are used to
develop theory) in order to comment on the growth of this evolving sound.
At the end of the 6-month period a
combined growth index was built
to test the artists with the highest
growth across all platforms. Based
on the index model, these are the
top 10 highest growing artists. The
collectives and record labels that
posted the highest growth are also
listed.

San Holo, Arman Cekin (NL),
Oshi, Mura Masa, Troyboi (UK),
Carmada (AUS), Ekali (CAN). and
KRNE, Gravez, Ark Patrol (USA),
-------------------------------------------Record Record (FR), Soda Island
(CAN), Bitbird, Heroic (NL),
Hebinimochi, Moving Castle, and
Hegemon (World)

It’s very interesting to note every region had at least one artist or collective
experience extreme growth (> 200%), which highlights that Future Bass is not
a localized movement, but rather a global phenomenon driven by the Internet.
Moreover, based on the many averages per platform and per country, there is
an overall positive growth trend, with Australia and USA performing above
average. Conversely, Canada and France performed below average, while
UK and Holland yielded neutral results. Lastly, two interesting drivers of
growth have been found to increase success & inclusion amongst the Top
20%. These are the usage of like-gating technology, and being a member of
an Artist collective/label.
This information about emerging Artists and Gatekeepers (labels, groups,
media companies) is sensitive information that can be valuable to brands,
music companies, booking agencies, advertisers, bloggers, big labels, and
publishers that want to find the next crop of superstars while they are still
affordable. This research will give those stakeholders an edge, and the ability
to find top electronic talent before they reach their prime.

 

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General Introduction
This research paper delves deep into the current world of electronic music. It’s
no secret that EDM is becoming a powerful force in the music industry, yet
behind the whole façade there are noteworthy trends actively changing the
underbelly of electronic music in 2015. Whether it’s new ways to create, new
techniques to market, or novel ways to consume, electronic music has always
had an embedded symbiotic relationship with technology. This link has
accelerated EDM to the forefront of society and culture.
In electronic music, culture plays such a strong role, especially given its
breadth and depth, catering to audiences from the most mainstream profile –
to the most niche, underground aesthetic. However, with the current rate of
technology, even the underground sectors can now experience high growth
and success. More importantly, this can be achieved in a relatively small time
span thanks to blogs, business partnerships, SoundCloud, and a plethora of
software and plug ins. For reference, Flume, Cashmere Cat, and Martin Garrix
are poignant examples.
In short, today’s underground music scene is more spoiled than ever in terms
of reach, engagement, and access to fans. It has been empowered by digital
and democratic forces, giving rise to countless success stories – be they
upcoming producers, new labels, or emerging genres. At the beginning of this
research phase, I encountered one such story that laid the groundwork for this
paper. In Early Fall 2014, I discovered an artist called San Holo, who was
making a very experimental & melodic type of music (Future Bass style). After
some early buzz, he had garnered a following of around 4000 people on
SoundCloud. A few months and releases later, he had surpassed the 30,000
mark. At the end of my research (at the last recorded interval), he had more
than 140,000 followers. His journey is the perfect depiction of what I’m trying
to share. It’s almost a 425% monthly growth rate over 8 months time, and
just an illustration of the extreme movements happening in the underground
world of electronic music. New fads come out every season, new styles are
fused everyday, and new creative uses of technology disrupt the playing field
daily – and this is not only on the creative end, but also on the business front.
Digital improvements have fashioned a suite of marketing tools/strategies just
waiting to be explored/exploited by anyone from the tech-savvy bedroom
producer – to an artist management team. Three of these trends will be
stressed in this paper, and have been an integral part of Future Bass’s claim
to fame. They are some of the underlying currents that have propelled artists
and labels to the position they are in now.
1.) The rise of artist collectives and group marketing strategies
2.) Like-gating tool and its recent prevalence on SoundCloud
3.) Direct-to-fan relationships & new media (Live Streaming, Instagram)


 

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Research Questions
With this research paper I am trying to address two main areas of intrigue.
- The first is to determine which individual artists/labels have performed
the best in the selected sub-genre of electronic music. This entails
examining the cases that posted the highest growth rates/metrics.
- The second part is to try and explain why such high growth levels are
happening. How can an underground movement attain mainstream
appeal so quickly?
My analysis will thus have two corresponding parts to match both these areas
of investigation:
1.) Description: dedicated to describing the results and the data
a. Visuals, graphs, superlatives
b. Averages for platforms, countries, and clusters
c. Top 20% and Growth Index Model
2.) Findings: dedicated to assessing the underlying causes of growth
a. Does being on a Collective give you higher growth percentage?
b. Does utilizing like-gating software produce better social results?
c. Does the use of new media drive new fan growth?
By breaking it down into a descriptive and an analytical side, I will have a
good viewpoint to answer the overarching question of this research. Namely –
Is Future Bass the next big sound in contemporary electronic music?
This will be tackled in the “Wrap Up” section found in the conclusion.
To put it in a more elaborate way, this research project is intended to
investigate the growth of 150+ artists and labels that are part of the next wave
of EDM. After a 6-month collection period my objective is to get a better
understanding of the scenes brightest talent, the best regions, and the best
gatekeepers (labels, media outlets, and artists collectives). This means
ranking the top 20% and figuring out all the notable outliers, averages,
superlatives to be able to paint a picture of the scene’s growth trend. This
essentially is the creation of a roadmap or framework of Future Bass.
After this has been recorded, described, and framed – my next aim is to
discuss the underlying drivers that have asserted Future Bass’s dominance.
I’m very interested in the infrastructure and mechanics behind the rise of this
new sound. My goal is to magnify the relevant discoveries, trends, and
patterns that are unique to this genre’s newfound success. In turn, these
insights will let me comment on the electronic music landscape in 2015, and if
Future Bass has the potential to be the next big thing in EDM.


 

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Literature Review
Background:
To trace back a few steps, a working definition of ‘Genre’ should be
established. In an earlier research paper on “Browsing Music Spaces:
Categories and the Musical Mind” (1999), Franco Fabbri attempts to define a
genre as “a kind of music that is acknowledged by a community for any
reason or purpose or criteria, i.e., a set of musical events whose course is
governed by rules (of any kind) accepted by a community” (Fabbri, 1999).
He further states that “in music, genres emerge as names to define similarities
& recurrences that members of a community made pertinent to identify
musical events” (Fabbri, 1999). The paper furthermore questions the structure
that genres have with their inherent codes and hierarchies. “Rules that define
a genre can be related to any of the codes involved in a musical event, which
act as a compass […] Genres, then, can be seen as short-cuts to speed up
communication within a musical community” (Fabbri, 1999).
In the world of electronic music, this is very applicable. Listeners need
information of what they are consuming, and artists & managers need to know
how to label, package, categorize, and market effectively. Thus, labels like
“Acid House” or “Dubstep” or “Trap” have been bestowed on cultural
movements to accelerate the communication/commercialization process,
resulting in 100s of sub-genres. In the digital age, this communication process
is reflected in a very short time frame, however this was not always the case –
as this interactive map detailing the evolution of western dance music shows.
Figure 1. Evolution of Dance Music


 

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This interactive visual shows the “time and place where each of the music
styles were born and which blend of genres influenced the next” (Thomson,
2011). The graphic demonstrates that even from a birds-eye view of larger
genres, the interrelations and ongoing transformation of music is dynamic,
complex, and inter-connected (Kirn, 2011). That process is really what’s on
display here, as we move from our vintage Rhythm & Blues to Funk into Disco
and all the way to the current spell of genres (Techno, House, Drum & Bass). I
think it’s fascinating to see the geographic connections and chain of events
occur (bear in mind in a time before internet existed). Hence, it was a good
starting point to reflect on the hybridization of genres and the cross-pollination
of creativity. It became the basis for selecting 6 global regions for my study,
which will be explained more fully in the methodology.
Although the Figure 1. (Evolution of Dance Music) is a neat visualization, it
only extends to the early 2000’s. This research paper is more rooted in the
current sphere of electronic music – especially focusing on the period of 2014
and 2015.
To get a better examination of this gap between 2005 and 2014, the following
visual published by MixMag about Beatport Sales is fitting.
Figure 2. Top-Selling Genres based on Beatport

From 2005 onwards, this graph gives a simple delineation of sales by genres
as they each battle for the spotlight. For this research paper, the red curve of
“Dubstep” is the most relevant. It shows the movement of an underground
Genre skyrocket and reach a popular level - only to sharply drop into the


 

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abyss. This cycle shows a very interesting trajectory at first, yet soon after
reaching its apex in 2011, the trend shows a mirroring downfall. This is the
story of Dubstep, a genre that started small in the UK, evolved into a
mainstream phenomenon with Skrillex in America, and then imploded on a
worldwide scale. This is almost the same exact story that could happen to
Future Bass in 2 years. Right now it is experiencing viral growth. But who is to
say once this movement reaches a critical mass that the Genre can sustain
itself? Is there any longevity, or will the innovation and momentum stifle at
some point? Will there be a similar implosion a la dubstep – or more of a
plateau?
These Genre lifecycles are the real backstory to why I am conducting this
research to begin with. In just a manner of time, one of the most trending
movements (Dubstep) simply fizzled, which goes to show the fickle nature of
today’s electronic music fan. These sharp drops didn’t happen in times before
Internet … well except for that one time that Disco infamously died overnight
in 1979. But the disco demolition night digression aside, the heart of this
paper is to figure out the direction of Future Bass, and if it will suffer a similar
fate? If so, does that mean that we consume only fashionable music for 2
years and then simply dispose of it – is this what the industry of music has
become … a fashion industry that’s only about trends?
In any case, it’s really hard to predict the future of an animal that is so likely to
evolve, given the pace of technology and resources available. That’s why I am
passionate about documenting the evolving sound while it’s still an embryo.
It’s key to note as well that because of the recency of these trends, most of
these emerging genres have very limited published information. This means
most of the available data comes from sources such as music blogs, popular
culture magazines, and from within the artist community itself. This lack of
published material is a fact that needs to be highlighted.

Context
After absorbing this general background about genre evolution, sales trends,
and drawing parallels to the Dubstep movement – the next part shifts gears
and focuses more on the developments in the 6-month research period from
2014 to June 2015. It is intended to inform individuals about specific themes
and topics unique to Future Bass. These are necessary bits of terminology
that need to be digested in order to better grasp the results and findings.
I guess the main question on everyone’s mind right now is what exactly
is Future Bass?
Well to impart my own definition, Future Bass is a global melting pot of today’s
popular styles (hip hop, trap, EDM, R&B) that has morphed into a unified
cultural movement. The style embodies a very melodic aesthetic, and is
characterized by synths and bass-heavy sound design. It is often described


 

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as forward-thinking, frequently layered with sample based hip-hop elements.
The notorious blog in the EDM world ‘Run The Trap’ similarly articulates that
“as genres continue to merge and become unclassified, this forward
thinking style of production has continued to break on to the scene and take
music production into a whole new world of sounds. From Wave
Racer, ODESZA, Lido and Flume taking over 2014 with unique production
styles, and artists like GANZ, Louis Futon, Mura Masa and Mr. Carmack
making serious waves; these forwarding thinking artists are forging a
refreshing new path in the dance music community” (Mayeri, Jan. 2015)
Before expanding on the stylistic elements, first a working definition of “Style”
is in order. “Style is a recurring arrangement of features in musical events
which is typical of an individual (composer, performer), a group of musicians,
a genre, a place, a period of time” (Fabbri, 1999). He further elaborates, “as a
codified way of making music, style is related to genre, and is often used as
its synonym, more regularly in languages where style is a more commonsense word and genre is felt to be more technical” (Fabbri, 1999).
The main features of the future bass style would definitely be the electronic
sounding elements (synths, melodies, drops, fx), as well as the soulful and
jazzy vibes (harmonies, progressions), along with a clear hip hop influence
(drums, 808, bass, samples). These are the main characteristics that are
coded inside the DNA of the genre (were we to refer to another one of
Fabbri’s studies – “ a hierarchy of codes always defines the ideology of a
genre” (Eco 1975, Fabbri 1996). Figure 3 is a simple Venn diagram to explain
the trifecta that lies at the foundation of Future Bass. These are the roots of
the sound.
Figure 3. Venn Diagram


 

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Less Than 3, another prominent blog, has this to say about the emerging
style. “When you think of bass music, the sound of glass-shattering beats
typically comes to mind. However, there has been a major spin-off toward
upbeat synths and playful melodies in recent times. This style sprang out of
hip-hop/trap, and it became loosely referred to as future bass as time went on.
While it’s still often debated which artists and tracks constitute future bass, the
genre really took over the blogosphere this year and continues to evolve
rapidly” (Downar, 2015).
In short, Future Bass as a phenomenon is still very much an enigma.
However, there have been some very encouraging trends happening inside
this cultural crusade that should be briefly mentioned for context.
Artist Collectives:
“Artist collectives have become a dominant force in dance music's flourishing
underbelly and they're fast replacing the traditional record label model with a
more DIY, collaborative approach to releasing music. A bevy of crews have
already risen to the surface: Hegemon, Team Supreme, Moving Castle, FlowFi, Soulection, the list goes on” (Calvano, 2015). Since 2014, there have
been around a dozen more competitive players spring onto the scene.
Interestingly, they are stemming from all corners of the world, including
France (Cosmonostro, Record Record, Point Point) to Australia (Pile Rats,
Future Classic) – as well as the UK (Trapdoor, Future Beats) and America.
The unifying trait is that they're embracing a community-influenced delivery to
slingshot producers to the next level. The mentality is a team mentality. No
individual artist is more important than the next, and everyone in the collective
simultaneously benefits from the success of others. “These producers
collaborate and support one another, opening themselves up to all new levels
of previously untapped exposure. London's own TroyBoi understands the
importance of this, noting that being part of a collective such as Hegemon has
given us another platform to connect our music with a wider audience and
share our music with each other's fan bases, therefore allowing a continuous
organic growth” (Calvano, 2015)
Jordan Calvano adds that “for example: An artist releases a song, and within
moments it can be shared, reposted, and retweeted on the socials of every
other producer in the collective. The result is a wildfire-like spread, allowing
tracks to rack up massive plays”. Want Electronic also confirms the promising
role of collectives in the underground. “They are revolutionizing the way
people approach genres like hip-hop, dance music, R&B, and soul,
reinventing the wheel so to speak and birthing new genres and styles with
ease. As the previous method of the major label fails, these newcomers have
shaped the idea of the artist collective. Not only do these crews release
music, they also provide a platform for their artists to grow. These collectives
double as blogs, clothing companies, radio shows, and really just about
anything you could imagine” (Wantickets, 2014).

 

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“In many ways, the function of a collective is similar to that of a label. The
main difference is that their ultra-grassroots mentality puts financial gain on
the backburner in the immediate, freeing them to organically grow and
assume roles without the bottom line of red and black. Take, for example,
Soulection giving away their entire discography for free. This, in addition to the
feverish synergy of many of these groups, has shifted the creative energy of
the underground away from labels and towards collectives” (Thump, 2015).
Like-gating:
Another development that has paved the way for additional marketing
strategies is the technique of like-gating. Like artist collectives and their
special commands, like-gating software, in the right hands, can also prove to
be a powerful tool. “For years, the technology has allowed artists to translate
free track downloads into a visible following, helping those artists book shows
and afford the ability to continue giving music away for free” (Greenfield,
2014).
“At first it was simple. You “Liked” an artist on Facebook, and next thing you
know you were downloading free music. This was often done through email,
but was always pretty quick and painless. Flash forward to 2015 where the
obsession with social numbers has skyrocketed, and now people are getting
way too demanding when giving out free downloads, asking consumers to
follow on every network, like and comment on all their networks, share the
post on Facebook, and sign up for an email list where you will be blasted with
updates” (Magnetic Mag, 2015).
Today, this is becoming a common type of exchange. There’s a catch to
receiving free content though. The consumer has to either like on Facebook,
or follow on SoundCloud, or a combination of any other platform(s).
Essentially the new currency is to follow for a download (and this can be
bundled with other names and platforms, as this figure 4 clarifies)
Figure 4. Sarcastic Tweet

Recently, this like-gating software has become a basic part of an independent
artist’s arsenal of self-marketing tools – boosting the profiles of many
musicians. In my selection, there are over 50 artists who utilize the gating
technology; their high growth on some platforms is sometimes directly
attributable to this method. Although Like-Gating is nothing new, and was shut
down by Facebook back in 2014, it is still alive and well on other platforms.


 

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There are already a few companies that have set up shop in the music sector,
including: ToneDen.io, Dropify, Click.DJ, FanBridge. Unlock This, Unlock FM
and a few more. In the contemporary electronic music bubble, like-gating
practices have moved away from Facebook end users (thanks to their new
policy) and now target the SoundCloud community instead.
New Media and Direct-To-Fan:
“SoundCloud is one of the biggest success stories of the online music world.
The music streaming and audio sharing platform has been growing
exponentially—it now boasts about 250 million users, and values itself at $700
million” (Thump, 2014). In terms of digital music, SoundCloud has arguably
surpassed YouTube as the main electronic music destination. This holds
particularly true for the younger demographic, since SoundCloud is geared
towards more mobile markets.
Regarding my database and research process, SoundCloud is one of the
main sources of data that I’ve been observing. Every artist and label that I’m
monitoring has their own SoundCloud profile; that’s a stunning 100%! This
shows the essential role the platform has amongst creators in the EDM realm.
Less popular among the artists I’m covering – but equally noteworthy is
Instagram. “According to research […] Instagram is growing the fastest of all
social media sites worldwide, increasing its active user base by 23% in the
last six months” (Lunden 2014). In my research pool, more than 60 artists out
of 150 have an active instagram account. This emphasizes that even
musicians are using the platform to interact with fans; especially the younger
fan base. To back this up, “Instagram has found success with young people.
For the first time, more than half (53 percent) of young adults – that is ( ages
18 – 29 ) – are on Instagram” (Wagner, 2015).
After Instagram, there are a handful of other media platforms shaking up the
underground EDM playing field. These include live streaming solutions offered
by the likes of Twitch, Ustream, Periscope, and even Snapchat. Increasingly,
these new platforms are being used by the younger waves of producers to
enhance their direct-to-fan relationship. In order to be ahead of the curve, this
direct access to the fan is an important link to embrace.

Methodology
Materials:
The methodology of this thesis is heavily based on a quantitative inductive
approach (concerned with the generation of new theory emerging from data).
In order to evaluate this new scene and its fundamental building blocks, I
have constructed a database complete with artist-centric variables and
information. This is in the form of an Excel file, which has been updated
monthly with current social media metrics. In addition to this manually


 

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recorded database, there is the Next Big Sound database, which was used to
cross-reference some of the numbers and dates. This database also contains
extra variables such as Soundcloud downloads, Youtube views, Facebook
‘talking about this’, and many more to deepen the scope of information. Sadly,
this data was not available to all artists and was used sparingly.

Collection Process:
With the goal to document an underground genre over a period of time, the
first task was to select an appropriate Genre to use as a case study. Based on
the many current trends in EDM, (Deep House, Jersey Club, Chill Trap, TechHouse, Grime etc.) I felt Future Bass had the largest mysteries to unravel. It
also had a strong presence on blogs in 2014, and thus outbid other emerging
sounds like Trap and Dubstep. The approach of selecting and analyzing one
genre, instead of 2 or more was also a decision to address. This was due to
avoid too large of a data set, because following an extra 100 artists would
introduce a drove of new variables.
The next hurdle was the artist selection process. In my opinion, the best way
to gage an exploding genre is to investigate it at the artist level. After sifting
through the Internet, music blogs, and SoundCloud, I realized that a coherent
way to categorize the artists was by country. 6 countries were chosen, based
on three factors.
1.) At least 1 label/collective deeply rooted in the scene.
2.) 10 or more relevant artists with 5000 followers on SoundCloud
3.) History/ Ties to electronic music industry
Thus, the regions that all satisfied these criteria were (in alphabetical order):
Australia, Canada, France, The Netherlands, United Kingdom, and USA.
Australia doesn’t have the best historic reputation for EDM, however has
managed to turn this around in 2 years. It has recently exploded onto the
worldwide scene, contributing greatly with artist like Flume and labels like
Future Classic. Canada is well known for its EDM exports, which include
Deadmau5, and recently Kaytranada; it also houses the powerhouse label
Monstercat. France has often been associated with electronic music, thanks
to pioneers like Daft Punk and Justice. It looks as though this legacy will be
furthered thanks to emerging players like Cosmonostro, Point Point, and
Record Record. Holland has always been an epicenter for EDM and electronic
music styles. Today it boasts some top performers like San Holo and Ganz,
and gatekeepers such as Heroic and BitBird. The UK is blessed with talent,
and has a very important historic place in bass culture. With labels like
Trapdoor and Terrorhythm, it continues to be a very relevant destination for
Future Bass. Lastly, the USA is brimming with future bass artists and
collectives. Arguably some of the largest movements, which include
Soulection, HW&W, and Hegemon spawned here – therefore it’s a no brainer
that the US region was picked out.


 

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There were a few notable countries such as Norway, Belgium, and Japan that
didn’t make the cut. This was because even though they each boast
established Future Bass artists (Lido, Cashmere Cat, Starro, Luca Lush), they
simply didn’t have enough of these artists above the 5000-follower mark
(second criteria). The Artist selection criteria were based on reputation in
music blogs (specifically Want Electronic rankings and other compiled lists), a
starting point of at least 1000 followers (there were exceptions in the case of a
new projects), and the type of genre/style an artist claimed (which was often
experimental, forward-thinking, future bass). They also had to be based in one
of the 6 regions above, selected for that purpose.

Measurements and Calculations:
Now that the countries and artists had been finalized, the next step
was to figure out “what” to measure. I ended up looking at all the metrics and
found that more than 75% of all the artists had an active SoundCloud,
Facebook, and Twitter account (the holy trio for an electronic musician). The
other two platforms that were regularly used in the community were
Instagram, and even less frequently YouTube. Thus, these became the 5
main data sources to track for each artist starting December 1st, 2014. In
terms of the time frame, I began collecting data in December, and had a 6month period to find trends and explore various sorts of growth. I collected
and journalized the data for each platform, and every artist the first week of
each month. This way I could see the incremental growth across all forms of
media over time. Bear in mind that because the scene was constantly
evolving, there were many new players that surfaced during the collection
period. Thus, the list of 100+ artists and labels was continually updated, with
the last injection of artists on March 1.
Part 1:
At the end of the 6 months, I decided the best way to measure or rank the
artists would be to create a combined growth index that took into account
the complete growth across all platforms. This would help me answer the
first part of my research questions. 1.) Determine which individual
artists/labels have performed the best in the selected sub-genre of
electronic music, based on highest growth.
The arbitrary benchmark of adequate growth selected prior was set at 50%.
Attractive growth begins at a 100% increase. 200% is the threshold for
“extreme” growth. I am defining the barometer of success as the combined
growth %. Which means the higher the growth rate across all social
mediums, the greater the success. The equation I used measures the sum of
all platform growth rates, with each platform receiving a preselected weight.
The result is expressed as a percentage (100%). The weights placed on the
platforms are 50 % for SoundCloud, 20% for Facebook, 20% for Twitter, 5%
each for and YouTube and Instagram. The 50% SoundCloud weight is
further broken down into full growth, and recent growth (to account for
recent effects). This full period is 6 months, whereas the recent period is 3.


 

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0.40 (SC % Full Growth) + 0.10 (SC % Recent Growth) + 0.2 (FB Full %) +
0.2 (Twitter Full %) + 0.05 (YT Full %) + 0.05 (IG Full %) = N %
These weights have been selected based on the popularity of platforms with
artists and labels. SoundCloud is the most common, with every single artist
and label represented. It thus dictates half the index. The fact that a recent
growth factor was added was because there are volatile fluctuations that need
to be taken into account (such as Like-Gating). More than 90% of individuals
have an active Facebook or Twitter, thus they equally receive 1/5 or 20%.
Many artists did not however have a YouTube and Instagram account, and
thus these weights (5%) are significantly lower than the other platforms.
In any case, the growth index will be used to find the highest growers, and
break them down into two tiers of artist. The first is a top 10. The second is a
top 20%, which includes some underground prospects as well. Other
measurements that will feature in the descriptive results include:
• Platform Averages
• Country Averages
• Top 10 Labels (based on the index model)
• Top 10 Artist Collectives
• Top 15 Total SoundCloud Growth
Part 2:
To answer the second part of my research, these are the methods to analyze
the underlying drivers of growth. I have highlighted 3 main possible drivers of
growth and will test them for their effectiveness:
1.) The rise of artist collectives and group marketing strategies
2.) The use of Like-gating technology
3.) Direct-to-fan relationships & new media (Live Streaming, Instagram)
For the first test, I will categorize each member of the study into 2 groups
(part of collective roster? – yes/no). I will get a mean result for both and
compare. For the second test, a similar approach will be employed (does the
artist use Like-Gate technology – yes/no). Averages for both categories will be
calculated and then contrasted. For the third test, my criteria for measuring if
an artist takes the effort to create Direct-to-fan relationship would be to assess
how digitally fluent an artist is. Do they use new media well? This will be
determined by noting if the artist has an Instagram account (Active
Instagram? – yes/no). For this inquiry I will resort to an updated combined
growth index, that doesn’t take into account YouTube or instagram metrics.
Thus, it will test if having an instagram account (which shows signs of being
technologically sophisticated and knowledgeable of trends) translates into
higher overall growth index.
0.40 (SC % Full Growth) + 0.10 (SC % Recent Growth) + 0.25 (FB Full %)
+ 0.25 (Twitter Full %) = N %


 

15
 

Analysis
1.) Descriptive Results:
Averages by Platform (Figure 5)
Above the 50% benchmark is considered a successful result.

Over the 6-month time period, I had anticipated a 50% growth increase per
platform. For Soundcloud, the mean percentage was 71.4%, and the
benchmark was thus hit. Soundcloud was also the platform that experienced
the highest growth average when we compare it to Facebook and Twitter,
which again accentuates the crucial role of the platform in the underground.
Facebook did not hit this mark, while all the average twitter followers reached
almost 60% increase over the half year period. Soundcloud also boasted the
highest average increase per follower, with each artist growing their base by
around 15216 fans.
Averages by Country A (Figure 6)
Above the Platform average is considered successful result.


 

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Looking at the above visual, we can clearly deduce which countries are more
proficient with social media. Australia has a very strong base of artists that
utilizes all facets of today’s digital tools and offerings. Out of the 20 Australian
artists that were tracked, 16 had Instragram (80% success rate). Their twitter
average is also the highest among all countries, which underlines the techsavvy group of artists and well-linked local scene. There might however be a
few outliers that are skewing the twitter figures. In any case, the 80.4% growth
on SoundCloud is second only to the USA (82.4%), which also had a pretty
good social media prowess.
On the other side of the scale, we have the French community of artists who
did not perform as strongly (based on mean results). The combined Facebook
growth posted by French artists ranked the lowest of all regions; same story
with SoundCloud results. Also, the French, along with the Dutch, only had 6
out of 20 selected artists active on Instagram (30%). This shows a lack of
digital fluency, and perhaps means France doesn’t hold the same influence in
the Future Bass genre as its American and Australian counterparts.
Averages by Country B (Figure 7)
Above the Platform average is considered successful result.
Within +/- 10% of platform average is considered neutral.

Concerning the other 3 regions, Canada measured the lowest twitter growth
mean, and also struggled with their Facebook average. For the rest, both
Holland and the United Kingdom witnessed neutral growth across the
spectrum, though both had significantly high Facebook averages. This is likely

 

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due to the strong influence of artists like Troy Boi, Mura Masa, and Oshi in the
UK, and San Holo and Arman Cekin (NL), whose stats will all be dissected in
the artist metrics (next section). However, it’s key to note that the 78.4%
percent average for Holland is likely impacted by the two aforementioned
super producers.
Artists by Country – Australia (Figure 8)
The following section is a summary of all the artist-centric variables that were
calculated by country. It also includes the labels and collectives for each
region on the rightmost column. The combined growth metric is the first data
column, followed by the total growth across all platforms, and ending with the
SoundCloud growth rate. The key visible below applies to all tables.

In Australia, we can observe some very encouraging numbers, highlighted in
green. The artists at the bottom of the table show a very high growth amount
across platforms, which ranks them accordingly in the Top 20%. 5 artists are
represented in the top 20% for Australia; 3 are in the top 15. These are
Herzeloyde, Feki, Slumberjack, Jia Lih, and Carmada taking number one spot.
In terms of Total growth, Flume is the clear winner, however Alison
Wonderland (one of the only female producers in the whole selection of
artists) has managed to not only post a growth rate above 50%, but also a
total increase of 141,141 across her socials. Carmada nevertheless remains
the most interesting prospect from Down Under, with a growth of almost
40,000 in 6 months. They only started with around 7,000 SoundCloud fans, so
that growth of almost 300% is very impressive.

 

18
 

Artists by Country – Canada (Figure 9)

In Canada, the numbers aren’t as consistently spread out as in Australia, with
a few cases of high growth, and a few bad eggs. Nonetheless, there are 5
artists in the Top 20% - these are Ekali, Ramzoid, Tails, Syre and Pusher.
Ekali is the leader of the pack, posting a 113.5 percent increase on the
combined scale, and 182.3% rise on SoundCloud.
In terms of Total growth, we can see that the Monster Cat label has one of the
largest bars. However, the Secret Songs group has a significantly higher
growth rate (111.91% vs. 31.8%). The artist with the largest total change also
happens to be the greatest influencer of the Great White North – none other
than Kaytranada of course.

Artists by Country – Netherlands (Figure 10)

In Holland, we see a similar pattern as in Canada, almost a bimodal
distribution with many success stories and a few sloths. Nevertheless, Holland

 

19
 

is home to two artists in the Top 10, which have propelled it in the country
rankings. San Holo is ranked #1 artist according to the growth index, and is
the winner of the 150+ artists that were picked. A congratulation is in order, as
he shows an imposing 460% increase on the growth index percentage. Even
more impressive is the almost 160,000 new followers he has amassed on his
socials (quite astonishing given that this all happened in the span of 6
months). Arman Cekin is the other Top 10 member, and also displayed
promise with a 312.9% SoundCloud surge.
In terms of labels and collectives, the Dutch also prove their worth. Both
Heroic and Bitbird (San Holo’s Label) feature in the top 20%, with Bitbird
recording a 565.32% upswing. It’s Interesting to note that two of Holland’s
established exports (Ganz and Apex Rise) were clearly outshined by the
paths of newcomers San Holo & Arman Cekin.
Artists by Country – France (Figure 11)

In the French domain, the results were less equally distributed. According to
the Combined Growth Index, France had more artists in the bottom 20% than
in the top 20%. Only 2 artists from France featured in the top 20, and none in
the Top 15. Rusty Hook and Katuchat post the only real positive trending
figures among artists.
Among labels however, France rightly has one of the most promising
candidates by the name of Record Record. They have a experienced a
825.76% rise, gaining almost 7000 followers in the span of 4 months. This
more than makes up for the fact that France has performed weaker as a
whole in relation to the other 5 regions (Australia, Canada, Holland, UK, US).


 

20
 

Artists by Country – United States (Figure 12)

In the United States, the trends indicate a very positive picture of growth.
There were 8 artists that made it into the top 20%, and only 4 in the bottom
20%. The US was also the largest region in terms of artists selected. The real
winners include KRNE, Ark Patrol, and Gravez if we judge them by rate of
growth. They also feature in the Top 15. By total change, established players
Carmack and Sango lead the pack.
Other artists that did surprisingly well at both gaining followers and growing
quickly include: Alexander Lewis, Marshmello, Louis the Child, and Stélouse.
None however come close to the mastery of KRNE, who is putting out more
music than almost anyone in the scene – and getting rewarded big time.
The last things to bring up about the American electronic landscape are its
infamous artist collectives. These massive cultural movements have shaped
electronic music for the better, and none other as much as the Soulection
tribe. Although it only posted a growth of 33% (below the benchmark of 50%),
this collective still managed to find 111,000 more digital followers in the 6
month time frame. In terms of growth however, the Hegemon collective is the
clear winner in the US, with 71.46% combined growth, and almost 70,000 new
followers. Most of these stem from the SoundCloud platform.

 

21
 

Artists by Country – United Kingdom (Figure 13)

The United Kingdom, similar to France and Holland, also has a slightly
bimodal distribution of talent. This can be seen by the green and red shades,
and the fact that it has 5 artists in the Full Top 20%, and 5 artists in the bottom
20% of the growth index. However, the UK does place with 3 artists in the Top
15 (TroyBoi, Oshi, and Mura Masa). Troyboi is a very interesting subject
because not only is his growth rate above the 100% threshold, he also grew
his fanbase by 122,045 followers. Lastly, Oshi is also noteworthy due to his
374.14% on the index.
Top 15 Artists List (Tier 1)

Top 20% (Tier 2)

1. San Holo – 460.72% (158283)
2. Oshi – 374.14% (45890)
3. Carmada – 308% (39815)
4. KRNE – 291.5% (45030)
5. Ark Patrol – 243.64% (14481)
6. Arman Cekin – 211.35% (35151)
7. Herzeloyde – 198.39% (13813)
8. Gravez – 165.56% (27010)
9. Feki – 147.18% (14553)
10. Mura Masa – 133.52% (74923)
11. Ekali – 113% (34408)
12. Troyboi – 108.32% (122045)
13. Marshmello – 105.86%(40405)
14. Louis the Child – 102.9 (40223)
15. Alexander Lewis – 102.2(15280)


 

16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.

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Ramzoid – 97.67% (8442)
Slumberjack – 97% (29033)
Stélouse – 95.13% (21799)
Sam Gellaitry – 93.9% (59177)
Prince Fox – 91.39% (31858)
Tails – 85.98% (8518)
Syre – 84.72 (5889)
WRLD – 82.94% (14371)
Rusty Hook – 82.23% (13448)
Zes – 76.31% (8689)
Pusher – 74.7% (18194)
Katuchat – 75% (4772)
Brass Tracks – 68.87 (13176)
Dirty Chocolate – 65.93 (14969)
Alison Wonderland – 62.44%
(141141)

Top 10 Collectives/Labels –
Growth Percentage
1. Record Record – 825.76%
2. Bitbird – 565.32%
3. Soda Island – 225.9%
4. Hebinomichi – 178%
5. Moving Castle – 148%
6. Heroic – 93.11%
7. Hegemon – 71.46%
8. Flow-fi – 40%
9. Soulection – 33%
10. Future Beats – 30.1%

Top 10 Collectives –
Total Change
1. Future Classic – 157211
2. Soulection – 111557
3. Bitbird – 76417
4. Hegemon – 68596
5. Trapdoor – 32673
6. Juizify – 30118
7. Moving Castle – 29614
8. HW&W – 26197
9. Heroic – 23395
10. Hebinomichi - 16447

Findings:
After processing this wealth of artist/label data, it’s very reassuring to
see that many artists surpassed the growth benchmark of 50%. Another great
sign is that in every region that was selected, there was at least one case of
extreme growth (which in the methodology was stated to be > 200%).
In Australia, Carmada was this individual. In Canada, the collective Soda
Island reached this level. In France, the newly established Record Record
took this honor. In Holland, both San Holo and his label Bitbird witnessed
extreme levels of growth. In the UK, Oshi was the prime example of viral
growth. In the US, KRNE led the way. This finding is very relevant, as it
means that Future Bass isn’t only an American or Australian phenomenon. It’s
not a localized movement at all, but instead a global trend that is being fueled
by the Internet. By being a global trend, Future Bass has more points of
connection to experience both organic and viral growth.
To find further proof of the genre’s suitability to become the sound of
tomorrow, I have run three tests to find the underlying drivers of high growth.
These measure the effectiveness of three marketing strategies/tools that have
been outlined in the first half of this paper.
1.) The rise of artist collectives and group marketing strategies
2.) The use of Like-gating technology
3.) Direct-to-fan relationships & new media (Live Streaming, Instagram)
1.) On the note of artist collectives, I have looked to see if being on a
highly sought after collective increases the growth rate. Going back to
the combined growth index, the mean results show that for artists that
are part of a collective the average figure is 63.7%. For artists that are
not part of a collective the results are significantly lower, reaching only
an average of 40.3. To back up this distinction, 25 artists in the top 30
were part of a collective (83%). In the bottom 20%, 9 out of 30 (70%)
have not enjoyed this luxury of being on a roster. All these stats

together corroborate that Artist Collectives are an underlying driver of
success. There is indeed a powerful movement and strategy in working
together under a collective umbrella. The ‘power in numbers’
philosophy is definitely paying off based on this 6-month trend.
2.) Regarding Like-gating and if it’s also a possible underlying driver of
success, a similar test was completed. For those artists that used likegating, the average growth level on the index was 88.2%. For artists
that did not used like-gating, the average was 38.1%. That means that
artist who utilize the follow-for-free download mechanism have more
than doubled the naysayers. In addition to the large disparity in
averages, the Top 20% had 22 out of 30 individuals on their like-gate
game (73.3%). In the bottom 20%, only 2 members used like gating –
which means that almost 94% of those ranked in the last 30 failed to
take advantage. This underscores that Like-Gating is a sure way to
attain higher levels of growth (which is exactly what it’s intended to do)
3.) To test the digital fluency of artists, another test was designed. It was
to determine if being technologically savvy was also a factor that
contributed to individual growth (in this case measured by the presence
of instagram or not) For artists that had an instagram, the group
average was 68.38%, whereas the non-instagram group average was
42.6%. Again, in the top 30 artists, 23 had instagram (a strong 76.7%).
In the bottom 20%, only 6/30 or 20% had an account. Thus, being
smart about your socials and knowing your audience definitely plays a
role in your growth rate. Especially if you want to connect with younger
audiences on instagram, snap chat, or on live streaming platforms like
Twitch, Periscope, and Ustream.
Here is a summary of the Test Findings:
1.) Artist collectives 63.7% (Yes) VS. 40.3% (No)
2.) Like-gating technology 88.2% (Yes) VS. 38.1% (No)
3.) Digital Fluency & Instagram 68.38% (Yes) VS 42.6% (No)
Thus it is concluded that they are all underlying drivers that contribute to
higher growth levels (and higher % chance of inclusion in the top 20%).

Conclusion & Wrap Up
It’s apparent that the winning formula for the music industry has changed
since the previous decade, especially from an artist perspective. Digital and
democratic influences have paved the way for independent and self-released
success, an area that electronic music has had the pleasure to exploit. It has
opened the doors for electronic musicians to aggregate more fans via social
media, reaching more digital outlets and consumers than ever before. For
example “artist collectives have been using sites like Soundcloud, Bandcamp,
and social media to their advantage while spreading their message across”

 

24
 

(Calvano, 2015). This ability to be nimble makes the collective idea well suited
for the digital arena.
Along with like-gating and the new suite of social mediums from instagram to
snapchat, a certain digital fluency has become key to maneuver the electronic
music cosmos. After measuring all these marketing strategies and tools for
their effectiveness, it was confirmed that they led to higher levels of growth
(on average). Because these three underlying currents directly influence
higher growth levels (since all the averages are greater than the nonaverages), it can be said that Future Bass has the potential to reach a critical
state very soon.
Additionally, it’s reaffirming to see that the Future Bass sound has reached all
parts of the world. More importantly though, it’s a good sign that it can grow
exponentially in each of these areas, as the cases of extreme growth (>200%)
reinforce. To chronicle its history over the last half year, Future Bass has
become a global movement, with creative hubs trending all over the world –
allowing for organic and viral growth. All the artist-centric data collected and
conveyed in the results bolster this claim, remember San Holo and Oshi?
Perhaps one of the greatest strengths of the movement is that artist are
embracing the DIY approach. They are bypassing the middle-men and
connecting directly with their audience. Whether this is through like-gating,
engaging on Instagram, or using the marketing engine of a group – they are
all creative solutions to releasing music. In an Interview on Huffington Post
Live, key panelists shared that it’s really positive to see “that new blood is
pumping into the music industry and it isn't going the traditional route. More
young talent is choosing to form a collective rather than join a mainstream
label. This allows them to “cultivate a fan base without a label's backing.”
(Huffpost Live 2015).
A common thread in all of these tactics is the DIY (Do-It-Yourself) nature that
seemingly fits very well with the plight of an independent electronic musician.
The same goes for those nimble digital labels, collectives and media startups, where these DIY strategies can be harnessed relatively cost-effectively –
while still yielding solid growth and activity. Soulection's Director of Global
Communications Jacqueline Schneider acknowledges this, adding that
"Having a collective increases visibility for the individuals within it and
reinforces a message as a group. With this Swiss Army Knife mentality and
structure, the ability to create change on a global scale can increase
exponentially."
It’s because of these new trends, which are very unique to the Future Bass
ecosystem, that the evolving Genre has made important strides in this 6month term. My concluding remark is that Future Bass has leveled up, and
has left phase 1 of the early adopters, and is entering phase 2, the early
majority. Soon, it will have completed its full metamorphosis into the
mainstream. Today however, it still holds on to some of its underground roots.

 

25
 

Limitations
Although the research process conveyed some fruitful results, there is
definitely room for improvement in the research design. The first aspect to
consider is the fact that the Data has been recorded only for a period of 6
months, which does not reflect the growth of every artist equally (especially
small-profile, underground producers). A longer period of at least 1 year would
be more appropriate.
Another issue is that only 6 regions were selected for this study, which means
there were other viable producers that were omitted from the data set.
Moreover, the artist selection process and criteria can be more rigid,
eradicating some of the bias stemming from my own personal music tastes.
Latecomers and significant outliers to the data also need to be addressed, as
some key players emerged during the logging of data after the initial
December interval.
I also feel that I am missing a good chunk of data as my calculations and
analysis revolves largely around social media numbers. It lacks sufficient data
about downloads, hard sales data, and doesn’t incorporate the offline world /
prominence in live sector. Unfortunately, much of this data is often private and
very difficult to find, and although Next Big Sound has extra layers of data,
they are not available to all artists.
The final issue is that there is no other genre for a comparison or
benchmarking purposes. Most of the data is internally about Future Bass,
which makes it tricky to comment on external factors and compare it to other
movements. I also lacked the resources to conduct a statistical analysis for
testing the root causes of growth (artist collectives, like-gating, and new media
fluency). I could not get access to SPSS software to calculate correlation and
regression, and thus was limited to only calculating averages & percentages.

Further Research
To address these framework issues in the design, there are a few Future
recommendations I would make. I stated that examining another genre
simultaneously would create a data set too large to properly synthesize –
however, this might have to be overturned to give some kind of benchmark /
reference value to the Future Bass growth numbers. Conducting a side-study
with a small sample of another genre can alleviate this design flaw. I would
consider picking another sub-genre and a sample size of maybe 40 - 50
artists. I would repeat a similar methodology measuring the 5 data sources,
maybe with different countries, and possibly with alternative variables. The
end result would give me another axis to compare Future Bass’s evolution to,
rather than talking internally about the progression from a narrow perspective
of only 1 genre.


 

26
 

As mentioned prior, the elapsed period of 6 months is too short to flawlessly
portray the artistic trajectories coming from all sides and spectrums. A longer
period of time is needed to more adequately capture the evolution of this
Genre, and stabilize the artist-centric data points. Thus, I will extend the
current database from June all the way to December 2015, maintaining a
similar recording process as stated in the methodology. This will in turn result
in 1 full year’s worth of data about all the key players in the scene, which will
likely prove more comprehensive than a short 6-month investigation.

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