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It is a project of National Public Radio, an American privately and publicly funded non-profit membership media organisation.īoth have close to two million followers on YouTube. Tiny Desk was launched slightly earlier, debuting in 2008. It recently had an African tour, starting in Cape Town, South Africa then to Douala, Cameroon to Nairobi in Kenya and ending back in South Africa, in Johannesburg.
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It has been building an archive of global music performances and scenes since 2010, featuring over 4,000 performances, by more than 5,000 artists, spanning 150 cities. Global music performancesīoiler Room was set up as an independent platform and as a music and culture curator. This strongly suggests that online audiences desire interaction with the artists they follow and their peer group fan base. But recently the popularity of Boiler Room and Tiny Desk concerts has increased dramatically since their inception towards the end of the 2000s. Also, the music delivered via these platforms is often done with minimal human engagement.
This means discerning consumers have to be even more strategic when attempting to find the new music that they seek. These platforms have furthered the already broad spectrum of music available to the public, and arguably have reached a point of online music saturation.
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Other audio-specific platforms such as SoundCloud and Mixcloud also empower users to take control of what music they share and receive, offering a counterpoint to paid download and streaming sites such as iTunes and Spotify. From the pioneering MySpace founded in 2003 to YouTube, Facebook and Instagram, producers and consumers alike have been avidly sharing old, undiscovered and fresh new music. The arrival of social media platforms midway through the last decade brought a very different way for audiences across the globe to engage with music. By June 2017 it had 36% of all music streaming subscribers worldwide, ahead of its closest competitor Apple Music’s 17%. Its 180 million monthly users in 65 regions have access to 35 million songs – and that number is growing as we speak. Take the streaming service Spotify as an example.
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Today though, the prevalence of free or cheap streaming and downloading platforms on social media has given music lovers a deafening, near unlimited and often overwhelming choice. It meant collections were limited by budget. For many music fans buying costly records or CDs is a quaint and distant memory.
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