To the Registry Office HIFiTidal, it’s the north european answer to Spotify. It was immediately launched in Anglo-Saxon countries like United Kingdom, Canada and USA in October of 2014.
In the first half of 2015, Aspiro, the company that controlled Tidal was sold to Project Panter Ltd, a company owned by Shawn – Jay Z – Carter.
The branding TIDAL has always been strong, but with the touch EstCoast has taken a whole new flavor.
Obviously it absorbed the appeal of the family Knowles-Carter.
The brand was born with the declared intention of internationality. The colors of Tidal are the right ones, logo or black or white, what depends on the occasion requires, and contrasting backgrounds that reveal saturated images of momentous events.
The air is that you breathe in NYC, at least as seen from the outside. The soul is that of a platform audio-video streaming with great potential given by the infinite appeal.
Unlike other actors on the market, does not propose any mode of free streaming, this is especially easy to understand, and to be honest also very acceptable, it tries to be the only actor who aims to give the right royalties to artists who have their music on the platform, in fact, we all remember some problems that some artists have had with major players in the field, who paid a much too low economic recognition to the artists. A Music Streaming Platform made by artists to offer the best of world music to its users. You can not only enjoy streaming concerts of your favorite artist, but also buy tickets for his live performances.
Once the launch is done only as Jay knows how to organize, the road may seem well paved. The event to re-launch and beneficial at the same time has indeed had great resonance, even and especially in the countries where Tidal not yet arrived. TIDAL X 1020 at Barclays Center in Brooklyn was an event with very little teen flavor, that all the old MTV generation has enjoyed. Much more voluptuous and sexy, it was marked by performances of artists who obviously have their music on the platform, such as Prince, Usher, Lil Wayne, TI, Fabolous, Thomas Rhett, Damien Marley, Indochine, Hit-Boy, but the performance of the piping hot and explosive forms, has been that of Queen Bey and Nikki Minaj who made dream all present.
A brand that is looking for its size in terms of business, surely the wall that we find among all the other players in the market is the cost that the user has to deal with, this is due to the breakdown of the royalties that artists deserve for their work and of course for all the other services that the platform offers.
Even this seems a team trying spasmodically a good coach that brings results. In fact, in one year there were 3 CEO who have sat at the command post. In two were “exempt”, to continue the simile football, the news of the climb to the third CEO, came a few days ago, that which Jeff Toig, industry veteran, had been commissioned. (Here you can find the interview in Billaboard they did)
So the righteous soul that a brand like that must have, is one that will reward a good intention, though always in the house Project Panter, find the right starting point to push the consumer to a premium quality multi-service platform.
The logo of the new future giant music streaming is a perfect simplicity, and so much impact at the same time. The part of the lettering recalls the style super clean underground music, the graphic logo instead is slightly more complex and cryptic, the taste is the same as the trend cleared, in the street, reminiscent of a high active-wear, the one used by users, music producers, video makers and singers who make up the family of Tidal. Frighteningly in target remembers the immediate T’s name, the most imaginative see the opulence of a brilliant diamond, but the detail is striking more and more that builds loyalty, giving almost a shiver to the reader is the Claim “High Fidelity Music Streaming “detail absolutely right, a black ribbon in a packaging of the same color. Optimal.
Here an excerpt from the interview on Billboard:
Other than there being a limited number of these jobs available in the world, what prompted you to take the job?
In terms of why I decided to take it, for me there were really three main reasons. At a high level, this was a great opportunity to do something differentiated here. Jay Z and the artist-owners are deeply committed to Tidal and the vision they have for the business. Let me break each of those down. As I evaluated the business and the opportunity, Tidal has a really unique set of assets. It has exclusive content, deep connection with the artists — A-list artists — live events like Tidal X, and a unique set of assets.
It’s early in the game, but the seeds have been planted and it creates a really fascinating foundation. Second, through the interview process I was fortunate to spend quite a lot of time with Jay Z, learning more about his vision for Tidal and why he made such a significant investment in this business. It became clear to me that Jay and the artists behind the company are deeply committed to developing an amazing music experience for fans. I share a belief that this has been lost with many services, and it will be critical as we build Tidal into a leader in this space. The third thing is the momentum. The company just launched six, seven months ago and it’s already grown to over a million subscribers. When you see a business like this gaining that kind of momentum, you start to think there’s something quite interesting happening. I’ve seen this before, and I’m intrigued by the growth and the potential the business has.
Since Tidal re-launched in March, you now have Apple Music, YouTube Red, Pandora announcing plans to launch a subscription service. What do you think of the market? Do you think it’s growing at a good enough rate for all services they get, or do you think everybody’s just grabbing share right now? A little of both?
This is my view: There’s clearly momentum building around subscription music services generally. The concept is gaining traction with consumers because you have a number of really meaningful companies that are in this space, and that puts a lot of focus and attention on a new idea. I don’t think any of us were sure, five years ago, that this business concept would take hold — but it’s taking hold. If you look at subscription models generally, subscription-based business models make for attractive companies. Video subscription services like Netflix, wireless carriers like Verizon and cable companies like Comcast, they all demonstrate that subscription models with recurring revenues are attractive businesses. We can create music subscription businesses that are also viable and attractive.
Tidal is interesting in that it has the standard price and a higher-priced service for higher-quality audio. But it doesn’t have free, or something at a lower price tier — that’s a place where Muve Music had some success. Do you think that needs to be addressed or can be addressed? Or do you think services like Tidal are going to go after the $9.99 consumer and the $19.99 consumer for the time being?
I don’t know yet. Until I get into the business and can roll up my sleeves with my team, I don’t know exactly how we’re going to [determine] the best opportunities for us to chase. I’ve looked at hi-fi technologies and the impact that’s had on the industry. There’s something happening there, too. Of [Tidal’s] million-plus subscribers, nearly half of them are on the hi-fi offering.
The feeling I get from the music industry about Tidal has been both uncertainty and optimism. What’s your message going to be to the music business, when you step in and start talking with them in January?
I think first and foremost we’re aligned with major labels and publishers. We’re trying to do something that forwards their interests, something that’s going to help the artists, the writers and the creative community. We’re deeply committed to this business and we’re focused on building a scaled, sustainable, successful business that’s going to be here for a long time.