Podcast appearances and mentions of Matt Bellamy

Abrimos escuchando a Muse y con buenas noticias para los fans del grupo ya que los de Matt Bellamy se suman al cartel del Mad Cool Festival. Además, te presentamos un último adelanto del nuevo álbum que Ty Segall publica este viernes, 'Possession', y también las últimas novedades de Mallo, Psychedelic Porn Crumpets, Yungblud y Robbie Williams.Playlist:MUSE - PsychoKINGS OF LEON - Waste A MomentGIRL IN RED - Girlfriend Is BetterTALKING HEADS - Psycho KillerYARD ACT - The OverloadBOMBAY BICYCLE CLUB - Evening / MorningROMY - Strong (feat. Fred again..)SCISSOR SISTERS - Any Which WayL'IMPÉRATRICE - EntropiaBLUR - Girls & Boys (Pet Shop Boys Remix)OASIS - Go Let It Outyungblud - Lovesick LullabyROBBIE WILLIAMS - Rocket (feat. Tony Iommi)BLACK SABBATH - ParanoidTY SEGALL - Every 1's a WinnerTY SEGALL - BuildingsPSYCHEDELIC PORN CRUMPETS - SpacegoatMALLO - ¿Y cuándo mejora?CHAPPELL ROAN - Hot To Go!THE BEACHES - Last Girls At The PartyROYEL OTIS - Murder on the Dancefloor (triple j Like A Version)MAGDALENA BAY - Ashes to Ashes (triple j Like A Version)DAVID BOWIE - Young AmericansVULFPECK - Matter of TimeEscuchar audio

Arizona Baby publicarán una reedición 15º aniversario del disco con el que se dieron a conocer en la escena nacional, el inolvidable 'Second To None', que ahora nos entregarán en una cuidada edición que incluye funda y vinilo en color dorado y además, dos canciones extra inéditas; una de ellas suena en esta sesión de Turbo 3 en la que también escuchamos las últimas novedades de BRKN Love, Repion y Rufus T. Firefly. Además, dedicamos el Riffódromo de esta semana a Muse, seleccionando diez de los mejores de riffs y bajo de la carrera de la banda británica, liderada por Matt Bellamy, autor de algunos de los riiffs más icónicos y épicos del rock de los últimos 25 años.Playlist:HIMALAYAS - What If...?THE AMAZONS - My BloodROYAL BLOOD - TriggersBRKN LOVE - DiamondsQUEENS OF THE STONE AGE - Emotion SicknessIGGY POP - Modern Day Ripoff (Live at Montreux Jazz Festival 2023)THE ROLLING STONES - Bite My Head OffPINK FLOYD - Comfortably NumbREPION - Viernes con Rufus T. FireflyRUFUS T. FIREFLY - Canción de pazREPION - Vienen de pasárselo bien con TulsaZAHARA - Yo solo quería escribir una canción de amorEVA RYJLEN - MetafísicaARIZONA BABY - ShiraleeARIZONA BABY - Shiralee Got Married (Extra 15 Aniversario 'Second To None')ARIEL ROT - Necesito un trago, el Ahorcado, Mr. Jones, Matrícula de honor (feat. Carlos Tarque)TARQUE - Piel de toroGYOZA - Opacitas vinum[EL RIFFÓDROMO DE TURBO 3: TOP 10 Mejores riffs de Muse]MANDO DIAO - FrustrationFRANZ FERDINAND - Take Me OutSUPERGRASS - I'd Like to KnowTHE REYTONS - On The Back Burner (Live from Clifton Park)Escuchar audio

Esta semana dedicamos el "Riffódromo" de Turbo 3 a Muse, seleccionando 10 de sus mejor riffs de guitarra y bajo -y algún bonus track-. Dominic Howard (batería) y Chris Wolstenholme (bajo) forman la base rítmica perfecta para Matt Bellamy, creativo guitarrista que, sin duda, ha contribuido a definir el rock moderno, creador de algunos de los riffs más icónicos y épicos del rock de los últimos 25 años.Escuchar audio

We delve into this monster of an album and the songs that made Muse a stadium filling act. We also discover Rick and Matt Bellamy have a lot in common... Hosted on Acast. See acast.com/privacy for more information.

THE RESISTANCE MUSE ARTISTS INCLUDE Roy Orbison, Kiki Dee, While & Matthews, Dion, Felicity Urquhart & Josh Cunningham, and Paul Wookey. SENSATIONAL GUITARISTS INCLUDE  Joe Bonamassa, Peter Green (Fleetwood Mac), Mark Gillespie, Ross Hannaford, Martin Barre (Jethro Tull), and Matt Bellamy. COPYCATS ARE COOL CATS! ORIGINAL VERSION— WHEN SOMETHING IS WRONG WITH MY BABY  - SAM AND DAVE. COVER VERSION — LINDA RONSTADT AND AARON NEVILLE. Presented by -  James Gee as in, Gee, I'm so ugly they let me into the bank wearing a balaclava!     www.singersongwritersandsensationalguitarists.com  

Matt Bellamy von Muse hat seine gelbe Telecaster gekauft, Radioheads Thom Yorke singt dank ihm mit der berühmten Kopfstimme: Jeff Buckley, der feinfühlige US-Songwriter, der uns nur ein Album hinterlassen hat. Wir spielen «Grace» komplett und erinnern uns an Buckleys Auftritt am Gurtenfestival 1995.

The Twilight Original Soundtrack is an indelible cultural artefact second in importance only to the film itself. In this bonus episode, we conduct a thorough (and academically rigorous!) analysis of this landmark album. We compare the relative loads shouldered by Hayley Williams and Matt Bellamy, think fondly on our memories of Linkin Park, and talk about all the Truffaut films we have seen (which is none).Don't forget to subscribe to Poster Boys, and leave us a comment and rating!Get in touch with us at posterboyspod@gmail.com Follow Poster Boys on Instagram @posterboyspod and TikTok @posterboyspod Hosted on Acast. See acast.com/privacy for more information.

(2023) National Donald Duck day, Entertainment from 2017. !st person deported from US, 1st transpacific flight, Income tax withholding act enacted. Todays birthdays - Les Paul, Jackie Wilson, Michael J> Fox, Johnny Depp, Wes Scantlin, Matt Bellamy, Natalie Portman. Charles Dickens died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Donald duck theme songDespacito - Louis FonziHurricane - Luke CombsGoing to the chapel - The Dixie CupsBirthdays - In da club - 50 Cent http://50cent.com/Tiger Rag - Les PaulLonely Teardrops - Jackie WilsonBlurry - Puddle of MuddUprising - MuseExit - It's not love - Dokken http://dokken.net/

Nickelback et le groupe The Lottery Winners ont repris en live " Don't Look Back In Anger " d'Oasis à Manchester. Aloe Blacc, connu pour son hit "I Need A Dollar", se lance dans un projet de reprises de chansons rock, en y ajoutant sa touche de soul et de funk . Les Black Crowes étaient en concert hier soir avec Classic 21 à Bruxelles, après avoir entamé la partie britannique de leur tournée européenne à l'Eventim Apollo de Londres la semaine dernière. Le groupe de metal symphonique Finlandais, Nightwish a décidé de mettre au défi les capacités de concentration des auditeurs avec son nouveau single, " Perfume Of The Timeless ", extrait du nouvel album Yesterwynde attendu pour le 20 septembre. Matt Bellamy, guitariste et chanteur de Muse, a accueilli son deuxième enfant avec sa compagne Elle Evans, et a révélé qu'il l'avait nommé George en l'honneur de son célèbre père. Suno est une intelligence artificielle capable de créer de la musique, des chansons et des voix et vient de lever 125 millions de dollars. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

La bande-annonce vidéo du nouvel album de Nick Cave and the Bad Seeds montre que son enregistrement avance à grand pas. Within Temptation sort le titre "A Fool's Parade", en collaboration avec le producteur ukrainien Alex Yarmak dont le clip a été réalisé à Kiev, en Ukraine. Après Michael Jackson, Bryan Ferry, et Rod Stewart, c'est le groupe KISS qui vend à son tour son catalogue musical, son nom et son image à la société Pophouse Entertainment, entreprise suédoise spécialisée dans les marques et le divertissement. "Blackbird" sorti sur l ‘'Album Blanc'' des Beatles en 1968, prend un nouveau souffle avec la reprise de Beyoncé sur son nouvel album, ‘'Cowboy Carter''. Matt Bellamy de Muse a enregistré la bande originale de "1984" à Abbey Road, pour un thriller audio basé sur le livre du même titre de George Orwell. Il y a 20 ans, Prince publiait l'album ‘'Musicology'', un de ses plus grands succès commerciaux des années 2000 aux États-Unis et une nouvelle version d"United States of Division", la face B du single "Cinnamon Girl" sorti en juillet 2004 est maintenant disponible. Mots-Clés : politique, battre, déposer, armes, instrumental, objet, édition, physique, Royaume-Uni, mixer, morceaux, Colin Greenwood, Radiohead, basse, guest, tournée, groupe, solo, concerts, Warren Ellis, Sharon den Adel, chanteuse, single, collaboration, réalisateur, ukrainien, Indy Hait, initiative, fondation, Ukraine Aid OPS, attention, soutien, Europe, lutte de l'Ukraine, droits, marque, millions, euros, originaux, édition, Instagram, Paul McCartney, heureux, version, message, droits civiques, télévision, images, filles, noir, école, choquant, fabuleux, tensions, raciales, fier, narrations, transporter, auditeurs, dystopique, Ilan Eshkeri, musique originale. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Episode 64 - ‘Praise For Absolution'Muse's third album, ‘Absolution', presents us with everything that worked for ‘Origin Of Symmetry', but elevated to the next level!The genius of Matt Bellamy, Dominic Howard and Chris Wolstenholme is on display as electronic soundscapes, symphonic elements and classically inspired passages are combined with Hard Rock to give us this innovative record that didn't necessarily introduce new musical concepts, but helped redefine the possibilities within Alternative Rock.Join us as we reflect on the legacy of ‘Absolution' and its impact on Muse's career and how they established and implemented a signature sound whilst combining so many musical elements!Episode Playlist: https://open.spotify.com/album/2Eq6RyxCm7qEAF2YLOxa4s?si=K6G80QOhTSyzVe-aEo5siAMaking Of ‘Absolution' Documentary: https://youtu.be/MzIhYH9ZGLE?si=Z-pBRP4gJpxHEKx3LONG LIVE ROCK ‘N' ROLL

In this captivating episode of "Concerts That Made Us," our enthusiastic host Brian sits down with the talented Murielle from The Great Alone. They dive deep into a discussion about The Great Alone's debut album "Perception."Murielle opens up about the album's thematic coherence, explaining how each track contributes to a larger narrative that explores the complexities of human experience and perception. The conversation then shifts to Murielle's unique writing style, which she describes as spontaneous and organic, often finding inspiration in fleeting moments and raw emotions.The excitement is palpable as Murielle talks about the anticipation of joining forces with the iconic industrial metal band Powerman 5000 for an upcoming North American tour. This collaboration promises to bring together diverse fanbases and create an electrifying atmosphere at each concert.Reflecting on her personal musical journey, Murielle shares anecdotes from her early days, the vibrant Swiss music scene and the ongoing struggle to maintain a balance between the demands of band life and personal commitments.As the interview progresses, Murielle reveals her aspirations and the artists who have shaped her musical identity. She speaks with reverence about the genius of Matt Bellamy from Muse and the profound impact that Queen's "Bohemian Rhapsody" has had on her life, describing it as a transformative piece that transcends time and genre.Brian and Murielle's conversation is a journey through the heart of a musician's passion, exploring the dreams that drive her and the future she envisions in the music industry. This episode of "Concerts That Made Us" is a must-listen for anyone who seeks to understand the soul of an artist and the dedication it takes to carve out a unique space in the world of music.Find The Great Alone here:https://tgaofficial.com/Find CTMU hereLinktreeNewsletter: https://concertsthatmadeus.aweb.page/p/f065707b-2e34-4268-8e73-94f12bd2e938Save 10% on Band Builder Academy membership by following this link https://bandbuilderacademy.com/Brian_Concerts/join and using promo code "concerts" at signup Become a member at https://plus.acast.com/s/concerts-that-made-us. Hosted on Acast. See acast.com/privacy for more information.

Rock News P.ta 83 Nuovo episodio de “Lo Strillone Rock” (Rock News P.ta 82) l'appuntamento settimanale (Podcast Rock) con le notizie dal mondo della musica Internazionale e Nazionale. Al microfono Ark & Arianna LA PLAYLIST Scorpions – Blackout (2015 Remaster) Paolo Nutini – Jenny Don't Be Hasty Machine Gun Kelly & Iann Dior – Fake Love Don't Last Muse – Ghosts (How Can I Move On) Aboutmeemo – Hooded Man *Rising Star The Hot Blood Spirit – My Ginga – O'rey E Eo *Rising Star Green Day – Look Ma, No Brains! Queens of the Stone Age – Time & Place The Smashing Pumpkins – Spellbinding Liam Gallagher & John Squire – Just Another Rainbow The Smile – Friend of a Friend U.S.A. for Africa – We Are the World LE NOTIZIE DA ASCOLTARE Addio a James Kottak, ex batterista degli Scorpions; Paolo Nutini in concerto a Lignano Sabbiadoro a giugno; Machine Gun Kelly, polemica per la signature guitar a forma di rasoio; Matt Bellamy ha sonorizzato l'audiolibro di 1984; Green Day: negozi aperti la sera prima dell'uscita di “Saviors”; Queens Of The Stone Age, due nuovi concerti in Italia il 4 e il 5 luglio; Gli Smashing Pumpkins cercano un chitarrista; Liam Gallagher e John Squire: ascolta il primo singolo insieme; The Smile: nuovo brano e data a Roma per la band di Thom Yorke; Su Netflix la storia e il backstage di “We Are The World”.

The moment you've all been waiting for has finally arrived – it's time to build the ultimate rock supergroup. That's right, after six gruelling months, 60 decades of music, 24 albums and six episodes of the Groovy Guys rambling on - it all comes down to this. How did we get here? The rock supergroup challenge featured each decade from the 1960s to the 2010s, with each episode focussing on four albums from one era, hand-picked from the Groovy Guys' collections. From those four iconic albums, a decade-strong supergroup was built. From those six supergroups, a final boss, an ultimate rock supergroup will be born. Welcome to the final episode - 35 musicians will enter the Thunderdome, only seven will leave to be proclaimed the Crate Expectations Ultimate Rock Supergroup. But first, a recap of the series. 1960s Albums: The Band - Self Titled, The Beatles - Sergeant Pepper's Lonely Hearts Club Band, The Jimi Hendrix Experience - Electric Ladyland, The Rolling Stones - Let It Bleed. Supergroup: THE TRIP - Mick Jagger, Jimi Hendrix, Keith Richards, Rick Danko, Ringo Starr, Garth Hudson. 1970s Albums: Black Sabbath - Paranoid, Fleetwood Mac - Rumors, Led Zeppelin - III, Queen - A Night at the Opera, Supergroup: WITCHY WAYS - Freddy Mercury, Jimmy Page, Tony Iommi, John Paul Jones, John Bonham, Stevie Nicks. 1980s Albums: AC/DC - Back in Black, Prince - Purple Rain, Rush - Moving Pictures, Van Halen - 1984. Supergroup: PRINCE'S COCAINE POOL PARTY (PCP²) 1980s - David Lee Roth, Eddy Van Halen, Mal Young, Geddy Lee, Neil Peart, Prince. 1990s Albums: Alanis Morissette - Jagged Little Pill, Nirvana - Nevermind, Red Hot Chili Peppers - Blood Sugar Sex Magik, Soundgarden - Superunkown. Supergroup: LORNE GREEN'S DOG AND THE CAPTAIN'S LOG - Chris Cornell, John Frusciante, Kurt Cobain, Flea, Dave Grohl, Alanis Morissette. 2000s Albums: Blink-182 - Self titled, The Strokes - Is This It, The White Stripes - Elephant, Muse - Origins of Symmetry. Supergroup: UNIVERSAL SUPER BAND (USB) - Julian Casablancas, Matt Bellamy, Jack White, Chris Wolstenholme and Travis Barker. 2010s Albums: The Black Keys - Brothers, David Bowie - Blackstar, HAIM - Women in Music Pt. III, John Mayer - Paradise Valley. Supergroup: LIGHT IN A BLACK HOLE - David Bowie, John Mayer, Dan Auerbach, Este Haim, Patrick Carney, Danielle Haim. Show notes: 00:00:00 - 00:06:10 Intro and recap 00:06:10 - 00:07:06 The rules for building the ultimate supergroup 00:07:06 - 00:09:20 Vocalist 00:09:20 - 00:10:33 Lead guitarist 00:10:33 - 00:15:39 Rhythm guitarist 00:15:39 - 00:22:46 Bassist 00:22:46 - 00:32:30 Drummer 00:32:30 - 00:48:00 Wildcards 00:48:00 - 00:57:42 Finally, the ultimate rock supergroup. Now time for ‘the name' and ‘the song'. 00:57:42 - 00:59:34 Wrap up and outro About Crate Expectations Crate Expectations is a podcast for vinyl record collectors and music fans - featuring Groovy Guys Tom, Dan, Matt and Chris rambling on about vinyl culture, new and old bands, the music industry, gigs… and bunnies. Email |⁠⁠ Insta | Episode archive | Send us a voicemail --- Send in a voice message: https://podcasters.spotify.com/pod/show/crate-expectations/message

La chanteuse irlandaise Sinead O'Connor, décédée en juillet à 56 ans, est morte de "causes naturelles", selon les conclusions de l'enquête judiciaire rendues publiques mardi à Londres. L'ancien batteur de Scorpions, James Kottak, est décédé à l'âge de 61 ans, également membre d'un autre grand groupe de rock allemand, Kingdom Come. Le leader de Muse, Matt Bellamy, a engagé de grands noms pour la narration d'un projet autour du célèbre roman ‘'1984'' de George Orwell : Andrew Garfield, Cynthia Ervio, Andrew Scott et Tom Hardy. Avec Tool sur la route pendant les premiers mois de 2024, le bassiste Justin Chancellor s'attend à entrer en studio pour l'enregistrement de la suite de ‘'Fear Inoculum'' (2019) dans la "seconde moitié de l'année". The Smile - composé de Thom Yorke, Jonny Greenwood et Tom Skinner - a dévoilé "Friend of a Friend", nouvel extrait de leur deuxième album à venir, ‘'Wall of Eyes''. Mike Portnoy, qui vient de réintégrer son groupe Dream Theater, révèle qu'il a failli jouer avec Nickelback. Mots-Clés : Cinéaste, Paul Thomas Anderson, sessions, enregistrement, programmation, collaborations, tournée américaine, Europe, belge, Graspop Metal Meeting, bassiste, TMZ, Louisville, Kentucky, alcoolisme, Mikkey Dee, Motorhead, médecin légiste, autopsie, X, Twitter, Ilan Henry Eshkeri, compositeur, britannique, album, The Resistance, Cordes, London Contemporary Orchestra, saxophone, Robert Stillman, Batteur, Vancouver, Canada, festival, annulé, Kroeger. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

ORIGINALLY RECORDED LIVE MARCH 15, 2023 *IG: https://www.instagram.com/little_matt_bellamy/ *Instagram: https://www.instagram.com/musecastpod/ ⭐️MERCH STORE: https://www.teepublic.com/user/musecast?ref_id=1072 *Audio Podcast: https://anchor.fm/musecastpodcast *Main IG account: https://www.instagram.com/girlandhershibadog/ *Email: musecastpod@gmail.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/musecastpodcast/message

The Big Mates discuss queues to nowhere, calamari, tickets prices, and go to see Muse live at the O2.Adam, Steve, and Lucas travel to London in order to experience a live show by Muse at the O2 arena. They discuss their expectations, Muse's live prowess, and both their initial and considered reactions to the performance.  What do they play? Can Lucas put up with standing? Can Adam put up with Muse? Find out on this episode of What Is Music?Our next episode is out next Monday October 30th, and will see us providing a round up of Billie Eilish songs we've missed over the last few months!Join the conversation on:Twitter: https://twitter.com/whatismusicpodInstagram: https://www.instagram.com/whatismusicpodE-mail: whatismusicpod@gmail.comGet access to more shows, exclusive bonus content, ad-free episodes of this show, and more music discussion by subscribing to our Patreon!Head to patreon.com/whatismusicpod and receive up to two new episodes of our various shows every week (including shows about Manic Street Preachers and monthly themed playlists!), ad-free archives of What Is Music?, and access to our Patron-only Discord server for even more music (and non-music) discussion!Support our show when starting your own podcast!By signing up to Buzzsprout with this link: https://www.buzzsprout.com/?referrer_id=780379Check out our merch!https://whatismusicpod.redbubble.comDonate to our podcast!https://ko-fi.com/whatismusichttp://whatismusic.buzzsprout.com/Support the show

The Big Mates discuss the great reset, dynamic edits, languages, and Will of the People by Muse.Adam, Steve, and Lucas return to their Season 2 subject, Muse, in order to dissect and explore the band's ninth and most recent album, Will of the People. They talk about the writing and recording process, the context surrounding the songs, and offer up analysis, opinions, and thoughts from three differing perspectives on music, from being deeply into analysis and music, to not caring for art or critique, and everything in between.They tfinish up their track-by-track exploration of the album, sum up their thoughts on it, talk about the ongoing tour, and how the album was released!How does the album rank against previous Muse albums? Why is it He is risen? Are you Halloween? Find out on this episode of What Is Music?Join us next week as we present Volume One of our Greatest Hits!Join the conversation on:Twitter: https://twitter.com/whatismusicpodInstagram: https://www.instagram.com/whatismusicpodE-mail: whatismusicpod@gmail.comGet access to more shows, exclusive bonus content, ad-free episodes of this show, and more music discussion by subscribing to our Patreon!Head to patreon.com/whatismusicpod and receive up to two new episodes of our various shows every week (including shows about Manic Street Preachers and monthly themed playlists!), ad-free archives of What Is Music?, and access to our Patron-only Discord server for even more music (and non-music) discussion!Support our show when starting your own podcast!By signing up to Buzzsprout with this link: https://www.buzzsprout.com/?referrer_id=780379Check out our merch!https://whatismusicpod.redbubble.comDonate to our podcast!https://ko-fi.com/whatismusichttp://whatismusic.buzzsprout.com/Support the show

The Big Mates discuss the human centipede of seeing things, NFTs, colour grading, and Will of the People by Muse.Adam, Steve, and Lucas return to their Season 2 subject, Muse, in order to dissect and explore the band's ninth and most recent album, Will of the People. They talk about the writing and recording process, the context surrounding the songs, and offer up analysis, opinions, and thoughts from three differing perspectives on music, from being deeply into analysis and music, to not caring for art or critique, and everything in between.They touch on the recording process, the impetus of recreating a "Best Of" compilation, the thorny political themes of the album, and the ever-quotable Matt Bellamy. Pandemics, wildfires, conspiracy theories, shadow governments - it must be a Muse album! Is Plug in Baby on this album? What's the difference between trivia and facts? Do you know why the moon and the sun look the same size? Find out on this episode of What Is Music?Join us next week for the conclusion of our deep-dive into Will of the People!Join the conversation on:Twitter: https://twitter.com/whatismusicpodInstagram: https://www.instagram.com/whatismusicpodE-mail: whatismusicpod@gmail.comGet access to more shows, exclusive bonus content, ad-free episodes of this show, and more music discussion by subscribing to our Patreon!Head to patreon.com/whatismusicpod and receive up to two new episodes of our various shows every week (including shows about Manic Street Preachers and monthly themed playlists!), ad-free archives of What Is Music?, and access to our Patron-only Discord server for even more music (and non-music) discussion!Support our show when starting your own podcast!By signing up to Buzzsprout with this link: https://www.buzzsprout.com/?referrer_id=780379Check out our merch!https://whatismusicpod.redbubble.comDonate to our podcast!https://ko-fi.com/whatismusichttp://whatismusic.buzzsprout.com/Support the show

It's been claimed artificial intelligence will be as revolutionary as mobile phones or the internet, but there are fears that developments in AI could come at the cost of jobs. We assess the pros and cons of this rapidly-evolving technology, with insight from Marc Raibert, Executive Director of the Boston Dynamics AI Institute. We also consider the impact of generative AI on the arts, with Matt Bellamy from British rock band Muse teasing a potential future collaboration with a humanoid robot. Presented and produced by Sam Clack. Image: Ameca robot at the International Conference on Robotics and Automation, London. Credit: Sam Clack / BBC

Full Tuesday with BookerandStryker! Starting off with a debate on who's trophy is better. They ask how much is a good amount to contribute to a coworker's kid's fundraiser. Stryker is having trouble pronouncing the New Superman actor's name. And they debate on who is the better Rock lead singer: Matt Bellamy or Eddie Vedder?

Music streaming's payout model is under a microscope. The industry's stakeholders — the labels, DSPs, artists, and rights holders — all want more of the pie, but no one can agree on how.Should we stick with the pro-rata model that pools all streams together? Or move to the user-centric model that some DSPs have tested out? Should longer songs count more than a 30-second audio track? What if that artist you choose to start your music session with gets paid more than an algorithmic play? How can we stop the fraud? Would all these problems get solved if prices increased?. These questions are all up for debate. As growth slows down, everyone wants more of the pie. To discuss, I'm joined by Bloomberg's Lucas Shaw to break it all down. Here's everything we discussed: [0:42] How this debate started[6:59] Proposed multiplier model[10:43] Pro-rata vs. fan-centric models[13:54] Factoring streaming duration without fraud[17:38] Will big players budge?[19:22] Monetizing fandom[27:21] What if Spotify raises its prices?[29:48] 2024 predictions [32:11] Bloomberg's Screentime conferenceListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Lucas Shaw, @Lucas_ShawThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Lucas Shaw: The artist are one constituency, and the record labels or another, the artist could say, well, we might be happier if the record labels gave us a bigger share. And so, the best way, again, to keep all of those constituencies happy is to just grow the pie instead of reallocating and trying to sort of tilt it towards the big player.[00:00:29] Dan Runcie Intro Audio: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from the executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:55] Dan Runcie Guest Intro: Today's episode is all about streaming. It's the platform that saved the music industry, and lately it's been the platform that has sparked countless debates on how best to compensate rights holders, the artists, and the underlying companies that provide these services. This has been a polarizing topic ever since the beginning of streaming, but these topics have intensified recently for a few reasons.First, growth is starting to slow down. We're no longer in the 2017, 20 18, 20 19. Fast growth rate of streaming. Growth is starting to slow, and whenever the pockets tighten up, people get more concerned about how that current pot of money is split. Second, two of the biggest major record labels, universal and Warner, have went public in recent years, and there's more pressure, especially from those new shareholders.That wanna see returns for the big investments that they made. So how does this all shape the broader questions around how big the pie is, how the pie gets split, and what are the best ways to increase that pie? So join me in this discussion. I'm joined by Lucas Shaw from Bloomberg. He also is a frequent guest on the Town with Matt Bellamy, highly recommend that podcast if you haven't yet. And on today's episode, Lucas and I break it all down, all the facets, all the interests of the various stakeholders. It would make a few predictions in how we think this whole dynamic, this whole debate, how we think it plays out. Here's the episode. Hope you enjoy it.[00:02:16] Dan Runcie: All right. We have Lucas Shaw here with us from Bloomberg. First time on the pod, welcome.[00:02:21] Lucas Shaw: Yeah. Thanks for having me. Excited to chat.[00:02:23] Dan Runcie: Yeah. This is a topic I know you've written about. It's something I've been thinking a lot about. I feel like for years now, the debates around music streaming, model payouts have been going on for a while. Things definitely intensified the beginning of this year, and we're seeing more comments, more partnerships, but still not much movement.But every time I see this, I feel like I just always gravitate back towards. The record labels and the streaming services have two different incentives on what growth looks like, what success looks like, and I feel like that's the underlying problem towards, with so much of this. What's your take on it?[00:02:59] Lucas Shaw: Yeah, I mean, it's funny for a while there Well, when YouTube first came around and Spotify and streaming, there was all this tension between music companies and streaming services because music companies felt like tech companies had sort of killed their business, and blamed them for a lot of their problems.And were always complaining about royalties and all that. And then I would actually say for the last five years there's been relative like calm and happiness because music industry revenues have been going up. All the record labels are doing pretty well. The streaming services continue to grow. And now we've hit this another inflection point where the current model, which has again, worked great for basically a decade, has started to slow, you know, the record labels revenue isn't growing as quickly as it has been. And the streaming services though, they're still growing. they're growing at a lot of places like India, Southeast Asia, where the average person's not paying that much, so the revenue doesn't quite compare. And so, hence why we have now a lot of noise over the last six to nine months around, you know, a new model, quote unquote, for music streaming. Mind you, SoundCloud has been proposing a new model for a long time and most of the majors just like didn't buy into it, and we can get into it. And I think to some extent that's you talking about the different priorities. and the labels are talking about like their own version of SoundCloud's is fan powered royalties.The labels wanna talk about artist centric, but they've provided almost no detail as to what they want this new model to be. but I don't know, maybe you can design it for them.[00:04:36] Dan Runcie: I think you highlighted the inflection point, which is part of this issue. We saw so much growth. Growth is now starting to slow down, and I think growth is also slowing down in this post IPO era of the major record labels you have UMG goes public summer 2021. Warner goes public the summer before that.And those stocks have been down since those IPOs or since, since they went public. I think Warner's is down at least 16%, or Warner's is down around 11%. UMG is down at least 16%. And you have all these other actors like Bill Ackman and others getting involved in, they praised UMG so much when this deal happened.They wanna see a return on that. So I think a lot of the pressure is coming into. All of the things we're hearing, whether it's how much to charge for streaming, how much. How that actual price is being charged, how it should be distributed. And to your point, as you mentioned SoundCloud, we've heard a few things from Title, Deezer, others have been testing out new models. I think part of the challenge there though, is those models in a lot of ways have been pushed as ways to increase revenue opportunities for the independent artists and the artists that are using those platforms. Cuz I think that's one of the big takeaways from these user-centric fan power royalties.They can't add a bit of a boost to the indie artists, especially if you have a user that really likes them, but they haven't necessarily been as favorable to the biggest artists in the world. And those are the artists that the major record labels want any type of change to ultimately benefit.[00:06:10] Lucas Shaw: Yes, cuz we all know that Taylor Swift and Drake and the weekend are really hurting and they need the extra two or $3 million from Spotify. yeah, I mean that's sort of the nut of the disagreement, right? Is that the major labels want their artists, the professionals, the Crème de la crème to get more and more and more than some dude making ambient noise in his basement or like a young Dua Lipa wannabe, or, I don't know, something amateurs[00:06:36] Dan Runcie: Rain music is the thing that I kept hearing. Rain music and whale music.[00:06:41] Lucas Shaw: But, you know, I don't know, it's like distinguishing between different levels of stream, right? And, one of the issues for me, I guess is YouTube and other services have sort of eliminated the distinction between amateur and professional, you know, like any amateur is basically a viral video away from being a professional if they want be. And so I think it gets very tricky to try to charge different prices or deliver different royalties for different people. Not to say that there's not some innovation to be had in the model. I'm just not sure that's it.[00:07:12] Dan Runcie: Yeah, and I think YouTube's a good place to start with this cuz there's a few models that we can break into. There's a few proposed changes that are structured in here. YouTube is actually where Warner Music group's current CEO, Robert Kinsel, he used to be chief business Officer over there. And one of the things that he was really pushing over there was this project called Project Bean.And it was a multiplier approach where the thought is if you start your listening session, or in YouTube's case, if you start your viewing session with a particular artist or creator, then that person should be compensated more for the duration of what they lead to and the fact that you might be searching for them as opposed to an algorithmically-led play stream, listen, whatever it is. And he's ultimately pushing for a similar thing war, with, the streaming services. Now, I believe it was at a Morgan Stanley call or conference where he had said, if you start your music session with Lizzo, then Lizzo should be paid more. For that, and I think that's an element of trying to separate the weed from the shaft.They're trying to focus in on what they consider to be their creme de la creme. To your point, I don't think Lizzo is necessarily heard and she just went on a huge arena tour, but that's ultimately what they want, I think that does highlight how not all streams are weighted the same, but it's still a zero sum game.So if you are going to be providing more through this revenue multiplier opportunity, you're potentially still taking away from others.[00:08:42] Lucas Shaw: See to me that's the issue is that they're sort of talking about ways to divide the pie differently. Instead of talking about ways to grow the pie, now they're talking about both, but I think it's more important and likely more fruitful going forward to try to talk about ways to grow the pie.It's also, I would add an interesting way for music companies to deflect from their own accounting, you know, for years, music companies got mad at streaming services because they said that they didn't pay artists enough and they like got all the artists, or at least a lot of them fairly riled up in saying, you know, oh, like Spotify pays me, you know, a third of ascent for every stream.And that's not fair. But the pie grew by a lot every year. And one of the thing, and so the music companies is partially also cuz they went public, as you noted, like stop attacking the streaming services. But there's one thing that's always been true, which is that the record companies and the music publishers decide, how a lot of that money is allocated, right?It's Lucien Grange head of Universal Music Group who helps decide that the record labels get more than the publishers, the songwriters, because they make generally have better splits. With the record labels. Now they'd push back on that and say that that's not true. I'm just, that's one version of how this plays out.The other thing is that, again, then in those deals, like the record, labels keep a lot of that royalty money. So you could argue there's sort of the artist are one constituency, and the record labels or another, the artist could say, well, we might be happier if the record labels gave us a bigger share. And so the best way, again, to keep all of those constituencies happy is to just grow the pie instead of reallocating and trying to sort of tilt it towards the big player.[00:10:29] Dan Runcie: Which is why we didn't hear as many complaints about this in 2017, 18, 19, when growth was just up and to the right. Everyone was making more. More so there was less pressure on this particular issue itself.[00:10:41] Lucas Shaw: Yeah. And because I think to what you said, like a lot of these companies are starting to think about two of the three major music companies are starting to think about going public. And then you don't wanna, you know, you don't wanna freak people out. Stability is good when you have public markets.[00:10:56] Dan Runcie: Right, and that's the other challenge that we often hear. So one of the broader underlying debates that we've been hearing about is whether you keep the current model pro rata. Which pools all of the streams and then that then gets paid out to the rights holders depending on their share of those streams.And then that is a percentage of the overall revenue that comes in, both for subscription and then for ad support. And then of course, on the user-centric side, it shifts to the per user perspective, and that's where things can get so wild and hairy. Because if I don't log into Spotify for a month and I only listen to one artist versus.Three artists that I love come out the next month. They're still all splitting that same $10 a month, and that happens for everyone. So it makes the revenue less predictable and all of these things, granted those are extreme cases, but if you look at that on a magnitude level, it could lead to much more variability that publicly traded companies don't generally like.[00:11:54] Lucas Shaw: Yeah. what do you make of the fan centric model?[00:11:58] Dan Runcie: I do think that if we were starting from scratch, I think that's the better way to go about it because I think we're now looking at fan centric in this lens of how it disrupts the current model. I do think that if we started looking at things from, okay, how do you monetize that particular user? It centers everyone a bit more on the focus of, okay, how do we end up getting that sole user to stay on the service, to wanna stay committed, to make sure that we're offering things that they want? And I do think that there's gamification that happen on both sides, but I think from a net positive perspective, I do think that that is the one that generally leads to the more fair outcomes.I still think there's plenty of issues with it, but that's if we were starting from scratch, that's what I would say. It's just tough now because we're now a decade and a half in.[00:12:50] Lucas Shaw: And is there a version or are there other, tweaks to the model that you think have a chance of being widely adopted?Yeah, [00:12:57] Dan Runcie: there's a few things. So I think one of the things we haven't talked about a lot is duration, because that's a whole nother aspect of this debate. So right now the streaming services, don't clock a stream until it has at least 30 seconds of a particular song. So whether you have a 31 second sleep track that is just added to Spotify, or you have Bohemian Rhapsody, each of those songs is essentially, counts the same.I think that there should be something in place that compensates you listening to that longer song more than that, I do think though, that the challenges, you're still taking away from that. But in generally speaking, the songs that are 31 seconds mostly aren't necessarily to the same degree, quality, whatever it is, of a song that would be, you know, that 3, 4, 5 plus minute range.[00:13:53] Lucas Shaw: Yeah. Although couldn't that, also benefit if people would, could, wouldn't people just start uploading like 45 second, or excuse me, 45 minute sleep tracks and they could manipulate it that way. I mean, that gets into the other issue that obviously comes up a lot, and has become sort of a, big topic over the last year in particular is the idea of fraud.Which I see, I mean, a certain amount of that is, just always gonna happen. but is if you really wanted to discriminate against a particular genre or a particular type of listening, that would be the big one. if you buy into these estimates that like 10% of music listening it's fraud, you know that's billions of dollars that are going to people who maybe don't deserve it.[00:14:31] Dan Runcie: Right, and that's definitely one of the cons there. I think about the thing is, one of the things I started to accept was there's always gonna be some level of fraud or issue with it. Because I was thinking about the flip side. Let's say that we went to this user-centric model, and let's say that Spotify, apple, Amazon, all of them were on board.What would fraud look like from that perspectivea and the place I led to is the streaming farms would look less like these places that just have endless songs just playing on repeat. But it would be more like having, whether it's fraudulent users or bots or other people just signing into a service, playing one stream from one saw or one artist, or setting up an account and then going from there.And it made me think back to the CD or even the tape era where artists and their own record labels would go buy their own albums and things like that. And granted, maybe not necessarily fraud because it's just, you know, one distributor going further down and buying directly from the retailer. But there's always some type of issue there.And to your point as well, it could also just lead to 45 second tracks or endless tracks to game the duration day long playlist. So there's potential issues either way. Cause I think even with the current model, granted, we haven't necessarily talked about streaming itself in some of the gamification that happens there, but all of these longer albums, shorter releases, music has always adapted to its business model regardless, and I think this is another aspect of this, and that could likely happen again if things ever shifted to a more user-centric approach.[00:16:03] Lucas Shaw: Yeah, we just need more people to pull a tiara whack and release a 15 minute album.[00:16:08] Dan Runcie: I know.[00:16:08] Lucas Shaw: Works for our short.[00:16:11] Dan Runcie: I feel like Spice is kind of an interesting example of this. I feel like all of the songs on her most recent mixtape are, I don't think any of them are longer than three minutes. They're all within two or maybe even a minute and change. So she's another one that probably lines up here. What do you think, how do you think this actually plays out though?Because that's the piece that I've been thinking a lot about because. Since the beginning of the year, Lucian had his letter that he put out that called for a change. We've seen Kinsel and others speak about this, and Universal has also partnered with SoundCloud. They partnered with Deezer, they partnered with title for a new model.We've seen these announcements come, we've seen these partnerships happen, but we haven't exactly seen new developments since then. And I still have to imagine that it's gonna take a lot for Spotify or Apple or Amazon, especially the bigger ones to wanna play. So part of me is skeptical on whether these changes will happen in the same way, because I think that the labels just feel a bit of pressure where.Then their shareholders and others wanna be able to continue to grow, especially post IPO. They don't have the same leverage, let's say in video where you could easily pull your content. They rely on Spotify and Apple and Amazon way too much. So they're kind of squeezed here and they're trying to do it through public advocacy.They're trying to partner with smaller DSPs that have their own different incentives to support independent artists. So, and they don't necessarily have the technology themselves to go launch their own service to go do a Disney plus type of thing. And I know audio and video are just so different in that way, so I'm a bit skeptical.But what's your take? How do you see this playing out?[00:17:51] Lucas Shaw: Yeah, I mean, I share your skepticism. Until a major music company can point to an arrangement with one of those smaller independents, the Deezers, the titles of SoundClouds, and say, we've figured this out and this is why it's better for us. I don't think they're gonna have any success convincing the bigger players.And if you look at, excuse me, if you look at the priorities of Apple, Amazon, YouTube, and Spotify, sort of the, the big four, apple, Amazon, and YouTube, on the one hand could be persuaded because, you know, they don't have a lot to lose there. But, they don't have a lot of reason, like they're not relying on their music services to make a ton of money, to make them profitable.I mean, there are all these companies are under pressure to improve their financials, but it's not clear how, like reforming the model to benefit major labels and or artists in any way benefits them. If anything, most of these companies have wanted to reduce the power of major labels because them have them having a lot of leverage makes their negotiations more complicated.You look at a Spotify, they would like the major labels to have less of a say because it gives them a better chance in the long run of trying to improve their margins and reduce their payouts to rights holders. I think it's more likely that they look for ways to grow the overall pie, because that's what would most benefit them.which is why I think, you know, we've already seen Apple and Amazon raise prices. It's inevitable to me that Spotify is gonna raise prices. they're already, they're now trotting out or about to release A higher priced, high quality, service. I don't think those really matter, but raising prices on the base service to me is just such a no-brainer.I mean, the idea that that Spotify still costs $10 a month is insane to me. and then maybe there are other ways that they can make money from artists, right? You know, I've certainly heard folks in the industry. Say, well, why can't they do more sort of monetize fandom and find way they know who all of the fans are for Pink Panthers or Ice Spice, or Beyonce, whoever it is, can they find like the most ardent a hundred thousand and find a way to sell them more stuff?[00:19:50] Dan Runcie: That last piece I think is key because they have better data than that on anyone. They flex it to us every year with Spotify rap. They tell me I'm in the 0.4% of an artist that I'm like, oh, I didn't even realize I was in that early of an artist, or I got one recently. I was in the first 10% of people to listen to Post Malone and, the 21 Savage song.And I'm like, okay, well you're giving me this data. How do we then use that And I feel like I've seen them float around a few ideas over the year. You remember back when Tencent was really starting to become more discussed in the west, and people were trying to see if Spotify was gonna get into karaoke or tipping or things like that to try to replicate that model.You have this little different ending outta the business. You have this data that tells you better than any other company who the top Uber fans are. Sure you're not in the business of ticketing to those largest fans. I know they've tried to do some ticketing on a smaller scale, but beyond raising the prices and raising the prices is still huge.I mean, Obviously you go from not $10 to $11, you just increase your top line revenue, 10% for your largest market. So that's huge. But yeah, what are those other ways to increase the pie? Because like 17, 18, 19, those years showed us if you increase the pie and everyone is just continuing to make money up to the right, we hear less of these complaints about people of China trade pennies, essentially.[00:21:09] Lucas Shaw: Well, I'll get that in a second. I actually think that pricing, like these places could raise prices by like $5 over the next few years, and they wouldn't suffer much. I think we've seen it in video. you'll churn a little bit, but you can raise prices with some degree of impunity as far, which would fundamentally change the business.I mean, as far as the fan interactions. I mean, look, there are people who have way more experience and expertise, than I do. Who could come up with the examples, but, you know, all the noise around NFTs, a year or two ago that was really, or the idea of web three, right? That was the idea of finding ways to monetize fandoms.We've seen it happen in Asia. We've seen it happen in certain parts of the creator economy in the US, there's no reason it can't work in the music business. YouTube has like eight or nine other forms of what it calls alter alternative monetization, whether it's selling subscriptions, which obviously Spotify already is, or like Super Chats or what, like all of these different things that you can do. And there has to be some versions of that for music. Now, maybe that's not something that the top artists are gonna do because the incremental revenue just doesn't matter as much to them. But if you're, a lower or middle class artist who's like struggling to, to make money, or make enough like, those feel like no-brainers to me, people who'd be more likely to opt into that.and that can be, you know, opportunities to chat or like, take the idea of sort of fan meet and greets, but make it virtual. Take some of those things that happened during the pandemic and try to bring them into your, your daily life or if you wanna give people, like, let's say you're an artist on tour and you wanna give people like a sneak peek at your rehearsal. Like there're just so many ways to try to, honor and interact with your most art fans.[00:22:52] Dan Runcie: I agree. It also makes me think of vinyl as well, because half of the vinyls that are purchased, more than half people aren't even listening to, they're put up in the wall as decor, as merch, as ways to show their own self-expression and Spotify has the data that can infer who those people are that could be most likely to purchase that.So I think all of the things that you could have on the platform that could enable that I think are key. So, the pushback I've often heard, whether it's from people at Spotify or people that know the business well, is that they've been hesitant to do anything or add anything to the platform that isn't directly involved with You or I streaming a song.So whether that's interacting with fans or that's having other type of opportunities or experiences, if that doesn't involve you doing this direct revenue generating activity. They're hesitant to do it, I think that it could be a bit of forest missing the trees there, but that's the pushback I've often heard.[00:23:50] Lucas Shaw: But they have been more than happy to experiment with video like eight different times and have it fail every time.[00:23:56] Dan Runcie: True. True. I think back to the days where, they don't push it as much anymore, but like when Rap Caviar used to have the weekly videos and things like that, you used to see them push more into this, especially with some of the video exclusives for the podcasting. You just, you saw a lot of it, but you just haven't seen as much.[00:24:13] Lucas Shaw: Yeah. I don't know. I hear you. The pushback I've gotten when this has come up is like, most artists just won't do it. That it's hard enough to get them to like to show up on time or do all sorts of things in their daily life that they're not gonna wanna add a bunch of other things to their day to make a little extra money from fans. And while I think that's true, like I said, while I think that's true for the really big artists, I think it's less true for up and covers. And look, maybe there's not as much of a market, but I and social media content creators have, a fair amount in common.And there are certainly ways that Spotify can sort of learn from what YouTube's already doing.[00:24:48] Dan Runcie: Right, cuz if you're an artist that is native coming up, these are the folks that you wanna continue to attract and build. This is how they're natively growing, they're reaching into their fan bases and they're tapping into them. If they're not gonna do it on your platform, they're gonna do it on someone else's end.We've seen how YouTube's revenue has continued to grow and how it's become a much more meaningful player in music. So I do think that there's a broader opportunity there. The other thing that you mentioned, we talked a bit about pricing. One of the rubs I've heard about pricing itself is how the record labels and the streaming services would split that additional pie, or how they would split that additional incremental dollar that's there.Because as we know from a high level, Spotify's $1 coming in 30 cents of that dollar they keep internally for their own business, 70 cents of that dollar goes to all the various rights holders. But with that additional dollar, how do they then wanna split that? Spotify feels like they would be giving, doing the labels a favor by increasing that dollar that they add if they don't necessarily wanna just do that moving forward.They have these agreements in place. Spotify itself has advances that it's trying to recoup from a. Revenue perspective as well. So how that revenue perspec or how that recoupment looks like, especially if the model changes, but could be all of whack in a lot of ways. But from a pricing perspective, that's the rub there.So I think that we will see Spotify eventually raise that price. I think it'll probably be likely a dollar in the most developed markets, but that's the one rub I've heard Spotify. Wants something in return, and they probably feel more pressure to want something in return as opposed to Apple, Amazon, YouTube, since they, as you mentioned, sit under larger corporate entities.So music is more of a customer acquisition and brand play in a lot of ways, as opposed to Spotify trying to build a real business around audio.[00:26:40] Lucas Shaw: Yeah, I mean, and I guess the reason that the streaming services would want to change the splits is just to improve their margin because I don't know, it feels like you could keep it the same and even though they would still have to pay out a lot of extra money, and it doesn't help them that much.Like there also is an issue of just sort of fixed costs that they have. So bringing in incremental revenue should still improve margins for music companies. It should, it won't improve them dramatically, excuse me, for streaming services, not music companies, but it will improve them. And so if Spotify can take its monthly price from $10 a month to 12 or $13 a month, it's gonna improve the business.Now, I hear you, maybe they wanna renegotiate it, but if I'm a music company, you set a precedent that on those extra dollars that all of a sudden the split goes down 5% and Spotify's gonna push that, push on that for the rest of it, for the next deal.[00:27:33] Dan Runcie: Yeah, I think there's wiggle room there. And I think to that point, you mentioned earlier on pricing, we're right now talking about a dollar or $2 increases. I do think in the most developed markets, They have so much more pricing power. They have so much more runway, and I know that anything that is seen as a limit on growth, especially because all these services wanna continue to grow.They are hesitant to do anything like that. As you mentioned before, the markets that Spotify is growing in the most are markets where they cannot charge $10 or even $5 a month for regular service. But in the developed markets, I think it could be 15, I even think you could go up to 20. And for some of these areas, like we talked about video, and I do know that audio and video are different in a lot of ways, but because of the nature of the listening experiences and because I think people are probably more likely to pay for fewer audio experiences because it is passive as opposed to video being active. I do think that you could get away with commanding a higher price, and that's how, even if they charge a price, that's more in line with what Netflix now charges.A lot of these challenges as we keep going back to, wouldn't come up nearly as much because of how much more money the business is making. Yeah, if raise the prices to 15 bucks, fundamentally different business in so many ways.[00:28:54] Lucas Shaw: Yeah, I don't know. I mean, I went to a store yesterday to, or two days ago, and I just bought a bottle of sparkling water at a 7-Eleven, and it was like $3 and 30 cents. That used to be like a dollar 50 a do. I mean, Spotify's, and music streaming more broadly is one of the only industries that doesn't seem to have taken part in, inflation over the last many years.[00:29:14] Dan Runcie: It's wild. It really is wild. What do you currently pay? Do you use Spotify or do you use a different service?[00:29:20] Lucas Shaw: I use the Spotify family plan[00:29:23] Dan Runcie: Okay. All right. Same here. Yeah, my wife and I are on a plan, and I think we split that. It's like $13 a month, so yeah, I'm well below that. And it sounds like you're pretty well below that too. And you know, for us as power users compared to how much we probably spend on video, I mean probably at least five, 10 times that.[00:29:41] Lucas Shaw: Yeah, I probably spend it at least 80 to $90 on video every month across everything[00:29:47] Dan Runcie: I also imagine the nature of your job. You have to stay tapped in. It can't be like, oh, I don't know what's happening with this series or platform. I don't have a subscription, you kind of have to be tapped into all of 'em.[00:29:57] Lucas Shaw: there are one or two services that I don't per manently pay for but I do pay for most of the big ones.[00:30:02] Dan Runcie: Yeah. No, that makes sense. That makes sense. I mean, like we said, I think that I'd be surprised if we see any big movements here. But before we go down the road too far, let's just fast forward to where are we summer 2024. So a year from now. Are we still having the same debates has Universal been able to make any progress?Is Spotify priced any differently? And we could take each of those one by one, but where do you think we are with things a year from now?[00:30:32] Lucas Shaw: Yeah, I think prices for all the streaming services will have gone up.Like [00:30:35] Dan Runcie: a dollar, $2 or,[00:30:37] Lucas Shaw: I'd say one or $2, probably not more dramatic than that. but I'd say one or $2. And I think that, music companies will have gotten some of the other independents to like agree to test and experiment with different models, but there won't be some new. Model that has replaced the current one.[00:30:59] Dan Runcie: Agreed. And then do you think that we make any movement on multipliers or duration or any of those proposed changes?[00:31:07] Lucas Shaw: I think that similarly, like people test it out, but nothing becomes the new common standard in that time period.[00:31:12] Dan Runcie: Right. And then big picture as well. I still do think that the underlying crux of this is that platforms are two different incentives, and I think if the record labels do see themselves as having the major record labels, to see themselves as having this HBO level content. If you are taking a step back, the best way to solve that is having your own service, having your own platform.I think that could solve a lot of things, but I could never, I just don't see that happening. Do you think that could ever happen?[00:31:41] Lucas Shaw: An artist with their [00:31:42] Dan Runcie: service.Oh no, not an artist with their own service, but let's say whether it was either[00:31:45] Lucas Shaw: A music company. [00:31:46] Dan Runcie: One of the music companies or if the majors came together and was just like, okay, this is our conglomerate major label plus service.[00:31:55] Lucas Shaw: No, they missed their moment. If they wanted to do that, they should have done it 10 or 15 years ago.[00:31:59] Dan Runcie: Yeah, it reminds me when was it in the early two thousands? Do you remember Press play, that was one of the UMG [00:32:06] Lucas Shaw: Vaguely. [00:32:07] Dan Runcie: Yeah, I mean, I feel like a lot has changed since then. So there were a few failed attempts, but yeah, I think they missed the moment. They missed the moment on that but Lucas, good stuff.This was fun. Well, maybe we'll have to check back in, in case there's any more movement here. But, for the people that are listening and wanna stay tapped in with you, what do you got coming up?[00:32:25] Lucas Shaw: What do I have coming up? I send out a newsletter every Sunday called Screen Time, about business of pop culture, film, tv, music, podcasting, and a bunch of stories that I can't really talk about. And then we have the screen time conference in the fall.[00:32:39] Dan Runcie: So yeah, tell us what's the deal with the Stream Time conference?[00:32:42] Lucas Shaw: it'll be, you know, an event in Los Angeles, day and a half devoted to the business of pop culture, which is sort of what I cover and what my team covers. We'll have some of the bus biggest executives across, film, tv, music, gaming, podcasting, social media, onstage, I'll interview them, or one of my colleagues that's gonna be, you know, we have the CEO of Netflix, the CEO of Endeavor, the one of the people who runs CAA, the person who runs gaming at Microsoft. Issa Ray, Bill Simmons, the person who runs the Universal Film Studio, likely with a filmmaker, two or three other people we booked that I can't talk about just yet. And I think, you know, if you're interested in, if you're interested in the business of culture, you should buy a ticket.It is expensive. Get your company to pay for it. But it's gonna be an awesome event. I feel like, you know, there obviously are a lot of conferences, but I think ours will be unique in its marriage of business and culture. The way my team, covers things is we sort of bring together a lot of different industries that are typically seen as separate and also it'll be global.Like we have already won. And probably one more, international speakers coming, that, one of which is in music that I think people will be pretty excited[00:33:50] Dan Runcie: Awesome. Good stuff. Thanks, Lucas. Been a pleasure.[00:33:54] Lucas Shaw: Yeah. Thanks Dan.[00:33:55] Dan Runcie Outro Audio: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat. Post it in your Slack groups. Wherever you and your people talk, spread the word. That's how Trap continues to grow and continues to reach the right people. And while you're at it, if you use Apple Podcast, Go ahead.Rate the podcast, give it a high rating, and leave a review. Tell people why you like the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.

National Donald Duck day, Entertainment from 2017. !st person deported from US, 1st transpacific flight, Income tax withholding act enacted. Todays birthdays - Les Paul, Jackie Wilson, Michael J> Fox, Johnny Depp, Wes Scantlin, Matt Bellamy, Natalie Portman. Charles Dickens died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Donald duck theme songDespacito - Louis FonziHurricane - Luke CombsGoing to the chapel - The Dixie CupsBirthdays - In da club - 50 Cent http://50cent.com/Tiger Rag - Les PaulLonely Teardrops - Jackie WilsonBlurry - Puddle of MuddUprising - MuseExit - It's not love - Dokken http://dokken.net/

Esta edición de Cuento Contigo comienza con un relato de Bill Bryson, en concreto del libro “En las antípodas” en el que te narra con un humor caustico su experiencia en esa enorme isla continente. En capítulo elegido el Outback es el protagonista indiscutible. Bernardino Rosendo continúa con su aventura panamericana. Sale de la caótica Colombia y arriba a un país que le sorprende por la paz que se respira en él; Costa Rica es su parada y allí junto a su novia, le da tiempo para visitar Panamá, recién instaurado un protectorado por los estadounidenses después de detener a Noriega. Finalmente, David Livingstone te cuenta parte de su experiencia en el África central y más concretamente de su trato con una singular tribu y su cacique. Capítulo extraído del libro “Livingstone. Viajes y exploración, publicado por Ediciones del viento, colaborador del podcast. Música: Nada cover : Zoé. Grupo mexicano cuyo sonido fue toda una revelación en el mundo de la música hablada en español. Esta revelación llego algo tarde ya que cuando realmente triunfaron llevaban más de 20 años en el circuito musical en hispano América. Durante todo este tiempo han ido adaptándose a las diferentes corrientes musicales. Han encontrado su hueco con la música “espacial” algo psicodélica y que les ha lanzado definitivamente al estrellato. En esta ocasión es “Durazno” (melocotón) la banda que se encarga de interpretar esta canción. Hysteria cover : Muse. La banda británica liderada por Matt Bellamy ha pasado del rock histriónico a las sinfonías globales y de los arrebatos de rabia a la protesta descarada. A mi particularmente me gustan mucho y les reconozco el mérito de hacer que tres personas suenen como trescientas. Hysteria pertenece al álbum “Absolutión” el tercer disco de estudio. Aquí habrás escuchado algunos temas versionados, ya te he comentado que me apasiona su música. Firts to eleven feat Violet Orlandi te regalan esta excelente versión en acústico. Maniac cover: Michael Sembello. De la banda sonora de Flashdance, icónica película de principios de los 80 en concreto del 83, donde una bailarina pelea a Battement fondu por una oportunidad de entrar en una prestigiosa academia de danza clásica…¿era así no?. Ella suelda por el día y hace Teibol Dens por la noche. Rollo Batman pero con menos licra. Lamentablemente ha envejecido muy mal, la película digo. Este cover lo interpreta Pomplamoose, pero te ruego que no te `pierdas el video original con el Maikel en camiseta imperio con más pelos en los hombros que un gorila de montaña y el boina roja haciendo cucamongas a la cámara, impagable. Come together cover: The Beatles. Extraído del penúltimo disco de The Fantastic Four “Abbey Road” si, el del paso de cebra, donde ya se anunciaba que algo no iba bien. Es Aerosmith la famosa banda de rock (eran coetáneos) la que se encarga de hacer esta versión. No voy a decir nada más. Ambos grupos son lo suficientemente conocidos. The logical song cover : Supertramp. Esta banda británica formada en el 69 ya apuntaba maneras con su rock progresivo y las cabriolas sonoras que inventaban. Por su formación, aún en activo, como muchos otros grupos longevos, ha cambiado de miembros como si fuera un equipo de la NFL. Esta canción pertenece a su álbum “Breakfast in America” de 1979. Aitana López pone su dulce voz a la canción. Te recomiendo que mires en YT su página, sólo tiene un disco editado en inglés y una canción en español, un tanto extraño. Pero claro, está OT.

In this week's episode, our debut episode, we sat down to chat with the legend that is Chris from Muse, in a hotel bar in the outskirts of London. He really needs no introduction whatsoever... it doesn't get any bigger than MUSE, having scored Six No 1 albums, 2 Brit awards and 2 Grammys. They've headlined the pyramid stage at Glastonbury a mind-blowing three times, headlined pretty much every other festival and they continue to sell out stadiums across the world from Buenos Aires to Wembley! The three of us grew up as massive muse fans so we were super excited to sit down with Chris for this conversation. He was extremely generous with his time and was surprisingly down to earth given what Muse have accomplished! Expect stories of dangerous nights out with the Strokes, private jetting with Bono, low-blow insults from The Stereophonics, exactly how Matt Bellamy learnt to sing, and enough diarrhea stories to last you a lifetime! This is CHRIS from MUSE coming up on ‘Meet at the hotel bar'

Rosa Linn Sits with Booker and Stryker. She talks about her Song writing and vulnerability with working with other Artists. Living and Moving to Los Angeles. Bands she grew up admiring and listening to. Hunting for Muse's Matt Bellamy during ALTer Ego. And gong for her Driver's License.

DiS has returned! The legendary online publication's podcast and label is back, so here's Sean to tell us about the road since '98. Listen here for stories including but not limited to: teaching his school librarians how to use the internet, meeting Matt Bellamy on AOL, wanting to create a gang with DiS, press trips, finding out Bjork read his site, managing The Anchoress, music consultancy (and what that means) + Twitter handbags with Danny Baker. Get 20% OFF @manscaped + Free Shipping with promo code EARWAX at MANSCAPED.com! #ad #manscapedpod Get your 4 day tickets for 2000 Trees Festival, including Wednesday's Forest Stage Line Up with Bob Vylan, Holding Absence and more. Use '101POD' at checkout for £20 off, FREE MONEY: https://www.twothousandtreesfestival.co.uk/ Songs: The Anchoress 'Show Your Face', Cock Sparrer ‘Working' Learn more about your ad choices. Visit megaphone.fm/adchoices

Des images rares d'un jeu Sega de 1993, appelé ‘'Scramble Training'', avec Michael Jackson, et que l'on pensait perdues, ont été retrouvées lors d'un vide-grenier en Grande-Bretagne. Le bassiste de RATM, Rage Against the Machine, Tim Commerford, a expliqué qu'on avait dû lui enlever la prostate, suite à un cancer, juste avant la tournée et a donné au magazine SPIN plus de détails autour du diagnostic. Iggy Pop nous dévoile son nouveau single ‘'Strung Out Johnny'', deuxième single issu de son prochain et 19e album studio, ‘'Every Loser'', annoncé pour le 6 janvier 2023. Metallica a partagé le making of de son dernier clip du titre "Lux Æterna" qui a atteint la 2e position dans le classement "Mainstream Rock" du Billboard, réalisaté par Tim Saccenti, avec le guitariste Kirk Hammett et le bassiste Robert Trujillo. Dans une interview, il a été demandé à Brian Johnson, le chanteur d'AC/DC, s'il avait déjà rencontré une personne célèbre dont il était "fan", réponse : la légende des Beatles, Paul McCartney. Avec l'album ‘'The End, So Far'' de Slipknot, Muse a installé un des disques les plus durs ‘'Will of The People'' dans les Tops britanniques de cette année 2022 et Matt Bellamy confirme que " le metal a toujours été proche d'eux qui ont grandi en écoutant Iron Maiden, Nirvana, Rage Against The Machine and les Smashing Pumpkins, Iron Maiden… --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30.

Hi darlings, if, like us, you love peeling back the glossy layer of the celebrity machine and digging beneath the sparkle of the music industry, then you are going to absolutely adore this episode with Dublin megastar Dermot Kennedy. He's sold out the O2, counts Taylor Swift among his fans and in 2019 released Ireland's best-selling debut album of this millennium. Now he's just released an amazing new album, Sonder. But, as Dermot told us in this very moving and honest chat over some gorgeous Oatnog from our new partner black-lines, he hates celebrity, and does everything he can to protect himself from the trappings of fame, from not checking what's in his bank balance to keeping his dad on his payroll. Refreshingly down-to-earth, he offers some serious debunking when it comes to the music business, revealing how little money he makes when he's on tour. And of course it wouldn't be Straight Up without some eye-popping anecdotes, from Dermot pranking his friends in front of Muse's Matt Bellamy and being dared to drink his own piss (yes, really), to a quite frankly terrifying fan experience. Thank you to our amazing new partner, bottled cocktail company black-lines, which has just launched quite literally the most delicious Christmas cocktail you will ever try. A dairy-free take on the Eggnog, it's made with Minor Figures oat milk, buttery rum, cinnamon, nutmeg and vanilla, and you can serve it hot or cold. We are obsessed! Try it for yourself by using the code STRAIGHTUP15 at checkout for 15% off. Check them out here Straight Up's music and editing is by Marlon Percy. Find him on Instagram @marlonpercy Kathleen's IG: @kathleen.m.johnston Ellie's IG: @elliehalls1

The Peter & Greet Morning Show EP36 | Zijn we te bescheiden? In deze aflevering hebben Peter Snauwaert & Greet Bunnens het onder andere over Matt Bellamy van Muse. Deed laatst een interview (zie link hieronder) en hij kwam bescheiden over. En wij konden dat wel smaken. Matt en Muse kunnen wat over the top zijn (eufemisme :-)) maar in deze podcast kwam hij dus rustig en zelfs kwetsbaar over. Een fijne mens. Ook James Hetfield van Metallica betrapten we laatst op bescheidenheid en kwetsbaarheid toen hij vertelde over zijn onzekerheden. Hij kreeg een groepsknuffel van de bandleden nadien. Hoe fijn is het deze toppers op die manier te zien. (zie link hieronder). Wij als ondernemers en managers moeten de bescheidenheid en kwestbaarheid niet vrezen. We mogen trots zijn op wat we kunnen een wat we bewezen hebben, maar we hoeven niet te denken dat we alles weten en we hoeven ons niet verheven te voelen. Wel integendeel.

What's the will of the people in 2022? Well that's a question no band might answer more perfectly than Muse. With their ninth record "Will of the People" Muse still sound exciting and experimental as we're used to and they still understand it perfectly to create a power like no other band does. We talked to bassist Chris Wolstenholme about the creative process behind the album and of course we asked what he thinks about the "will of the people"? Foto: Nick Fancher/Jesse Lee Stout/Warner Music/dpa

Muse's Matt Bellamy joins Zane to talk about their latest album "Will Of The People" and chats about the evolution of the band, being a fan of Lady Gaga and how current events shaped the sound of the record.

BONG. THIS IS AN EMERGENCY NEWS BROADCAST. The Big Mates  discuss the newly released album Will of the People by Muse. They give their first impressions and pick some standout tracks.You can now wear your fandom on your (literal) sleeve!What Is Music? now has a RedBubble shop with lots of cool and stupid designs. You can get the designs on basically any product you like, from t-shirts and mugs, to bath mats and jigsaws, via clocks and phone cases! Head to https://whatismusic.redbubble.comIf you'd like a different way to donate to usYou can do so at https://ko-fi.com/whatismusicAny donations very gratefully received and go towards our running costs!Join the conversation on:Twitter: https://twitter.com/whatismusicpodInstagram: https://www.instagram.com/whatismusicpodE-mail: whatismusicpod@gmail.comhttp://whatismusic.buzzsprout.com/Support the show

Liverpool shooting: Nine-year-old girl shot dead after gunman chased man into her homeUkraine conflict: After six months of war, here's what could come nextUkraine live blog: Kyiv strikes separatists' headquarters in Donetsk with Himars rocketsMichael Fish moment: Top forecaster fired for wrong predictionManchester United: How Erik ten Hag transformed the team in nine days'Any kind of crazy direction': Muse's Matt Bellamy on conspiracy 'rabbit-holes' and the threat of US civil warRead all these articles and stay expertly informed anywhere, anytime with a digital subscription. Start your free one-month trial today to gain unlimited website and app access. Cancel anytime. Sign up here: https://bit.ly/3v8HLez.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

MUSE drummer DOMINIC HOWARD chats with Elliot In The Morning about the new album, Abbey Road Studios, Matt Bellamy's "Jeff Buckley" guitar, and more.

MUSE drummer DOMINIC HOWARD chats with Elliot In The Morning about the new album, Abbey Road Studios, Matt Bellamy's "Jeff Buckley" guitar, and more.See omnystudio.com/listener for privacy information.

Discussing Matt Bellamy's recent interview with NME magazine A quick thank you to all Musecast listeners/ viewers from host, Anaïs Lucia

Oh, we feel the need alright – the need for podcasting. NO ENCORE returns for another wild week amidst the world of music. Dave 'Maverick' Hanratty takes flight in the company of the returning Mark 'Iceman' O'Brien aka Royal Yellow, who deputises in Craig Fitzpatrick's absence. Yep, the boy Craig was struck down by illness but he's on the mend and will return next week.For now, messrs Hanratty and O'Brien have a news section, a festival review and a cinematic Top 5 to contend with.If you love NO ENCORE, please tell a friend! If you adore us, why not hit up our Patreon page? Every single little bit helps – patreon.com/noencore if you feel like getting involved.ACT ONE: It's a preamble ramble, baby. Mark's thesis honestly sounds awesome, does it not?ACT TWO (9:15): Mark reviews his Primavera Sound 2022 experience.ACT THREE (19:16): Julee Cruise RIP, Joker goes Gaga, Phoebe Bridgers branches out, Matt Bellamy wants a revolution, and Johnny is once again feeling Rotten – it's the news.ACT FOUR (36:18): Top 5 Movie Opening Credits Music. Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Author and podcaster Baz Greenland is the latest guest on the podcast to talk about Muse's "Black Holes and Revelations". He and Matt talk about the epic-ness of Muse's sound, Matt Bellamy's voice and the guitar hero. Host: Matt LathamGuest: Baz GreenlandFind all of Baz's writing, podcasts and other assorted works on Twitter: https://twitter.com/BazGreenlandFollow us on Twitter, Facebook & Instagram: @PickADisc.Email us at pickadisc@gmail.com.Pick A Disc(Ord): https://discord.com/invite/JnZjEYuK3uWe Made This:@wemadethispodhttps://wemadethispod.com/The Spotify Hall of Fame: https://open.spotify.com/user/xandmatt/playlist/3ePG8RgGhxLhI7SXN4JFPZ?si=I-NUSFKJSbOXYCCtCot-SQ

Author and podcaster Baz Greenland is the latest guest on the podcast to talk about Muse's "Black Holes and Revelations". He and Matt talk about the epic-ness of Muse's sound, Matt Bellamy's voice and the guitar hero. Host: Matt Latham Guest: Baz Greenland Find all of Baz's writing, podcasts and other assorted works on Twitter: https://twitter.com/BazGreenland Follow us on Twitter, Facebook & Instagram: @PickADisc. Email us at pickadisc@gmail.com. Pick A Disc(Ord): https://discord.com/invite/JnZjEYuK3u We Made This: @wemadethispod https://wemadethispod.com/ The Spotify Hall of Fame: https://open.spotify.com/user/xandmatt/playlist/3ePG8RgGhxLhI7SXN4JFPZ?si=I-NUSFKJSbOXYCCtCot-SQ

EMAIL: musecastpod@gmail.com

BONG. YOU ARE RECEIVING AN EMERGENCY NEWS BROADCAST.The Big Mates discuss the newly released single, Compliance by Muse. They also explore the announcement of Muse's ninth studio album, Will of the People. They look at the tracklist, artwork, and what the band themsevles have said about it. They then speak on their expectations for the album, and their thoughts on the new single.You can now wear your fandom on your (literal) sleeve!What Is Music? now has a RedBubble shop with lots of cool and stupid designs. You can get the designs on basically any product you like, from t-shirts and mugs, to bath mats and jigsaws, via clocks and phone cases! Head to https://whatismusicpod.redbubble.comIf you'd like a different way to donate to usYou can do so at https://ko-fi.com/whatismusicAny donations very gratefully received and go towards our running costs!Join the conversation on:Twitter: https://twitter.com/whatismusicpodInstagram: https://www.instagram.com/whatismusicpodE-mail: whatismusicpod@gmail.comhttp://whatismusic.buzzsprout.com/Support the show (https://ko-fi.com/whatismusic)

Tune in every Friday for more WOW Report. 10) Ukrainian Hero Volodymyr Zelensky @01:27 9) Netflix Pick: Search Party @07:53 8) Raftery's Warhol: Cease & Desist @11:57 7) She's Crafty: @GayThreadArt @22:59 6) Hot Flick: West Side Story @29:19 5) Warhol Theater: The Collaboration @35:37 4) Rest in Perfume: Tova Borgnine @45:39 3) Hot Read: Richard Boch's The Mudd Club Book @49:12 2) Warhol TV: Ryan Murphy's Netflix Series @52:21 1) Ryan Raftery's The Trial of Andy Warhol @57:32

Nic Cester who we know as the lead-man from Jet has had a busy time in lockdown. Early on, recording and releasing an album with the Jaded Hearts Club - featuring Matt Bellamy and Miles Kane. Now with the help of his daughter, Matilda he shows a very different side to his creativity with the children's book and companion album, "Skipping Girl" - which is out now. We all know the famous Skipping Girl sign in Melbourne and the sight of this landmark on a recent trip home, sparked so many memories from his childhood. Nic tells Becko all about the work behind the book and soundtrack.

Interviewing Instagram rockstar, Little Matt Bellamy, his sister, and father about their love of Muse and how they have been inspired by the band! *Little Matt Bellamy's IG: https://www.instagram.com/little_matt_bellamy/ *Instagram: https://www.instagram.com/musecastpod/ *Twitter: https://twitter.com/MusecastPod *Musecast YouTube Channel: https://www.youtube.com/channel/UC8ATGg0ar-XS0p2sMWPrHGQ *My other podcast: https://www.instagram.com/quarantinedhappyhour/ *Main IG account: https://www.instagram.com/girlandhershibadog/ *Get $50 cash & $25 to donate by opening up a checking account with Aspiration (the bank I use) HERE: https://my.aspiration.com/app/token/referral/81USGU416L1B245T *Email: musecastpod@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/musecastpodcast/message

*"Dig Down" Cover: https://youtu.be/2tFpAqK6z4Q *Fake Muse Tribute Instagram: https://www.instagram.com/fakemusetribute/ *Musecast YouTube Channel: https://www.youtube.com/channel/UC8ATGg0ar-XS0p2sMWPrHGQ *My other podcast: https://www.instagram.com/quarantinedhappyhour/ *Main IG account: https://www.instagram.com/smalltowngirltravel/ *Instagram: https://www.instagram.com/musecastpod/ *Twitter: https://twitter.com/MusecastPod *Get $50 cash & $25 to donate by opening up a checking account with Aspiration (the bank I use) HERE: https://my.aspiration.com/app/token/referral/81USGU416L1B245T *Email: musecastpod@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/musecastpodcast/message

Steve Hamilton continues to split our sides as we descend into drunkenness on the eve of Corona virus. In Part 2 of 2 we hear Steve's thoughts on each member of NGHFB, we explore the realities of film score writing and documentary making, playing the Olympics closing ceremony, late nights with Martin Freeman and never hearing back from Matt Bellamy. 

Playwright Dennis Kelly's emotional new play Girls and Boys centres on the story of a woman in an aggressive man's world. Kelly and actor Carey Mulligan, the star of the one-woman show, discuss the disturbing themes in the play and the challenges of performing it.Following a major leak from the Game of Thrones set - and the accompanying outrage - we ask writer Gareth McLean and TV critic Emma Bullimore whether our aversion to spoilers has now gone too far.Boyd Hilton reviews Mosaic, a new TV drama series from Steven Soderbergh, which stars Sharon Stone as a murdered novelist. The HBO series is accompanied in the US by a mobile phone app whereby the viewer can choose from which perspective the plot is viewed. Matt Bellamy, the axeman who fronts Muse and is famous for his searing solos, has said the guitar as a lead instrument is dead. It has retreated into the texture of the music. Front Row plays a lament in tribute to the lead guitar, as it loses its leading role.Presenter: Stig Abell Producer: Julian May.