April 12, 2018
We had the pleasure of talking with Andrew McCluskey, CEO of Musicto, to find out more about his music curation business and why he feels human curation is so important in today’s music scene.
Andrew: I went to LA to join a rock band at 29 – you know, follow the dream. And I’m still here.
I worked early on for Marks and Spencer – I did their management training, worked in stores for a few years and ended up as a chicken buyer, I then headed to LA to join my brother’s rock band. Later, I became the CEO of a national non-profit organization, joined an Indie country group as songwriter and musical director and finally ended up running a consulting business.
I’ve always had my own music gig, and in 2015 had the opportunity to purchase the domain Musicto. It had been registered as a record label in 2008 but they had let the registration lapse – I bought it and spent most of 2016 trying to find the right business model.
In 2017 we finally saw traction when we started bringing on volunteer curators to manage their own playlists – we developed that model and then really came to market in July 2017 and growth has been strong since then. We currently have over 100 applications to become a music to curator.
Andrew: I grew up listening to John Peel and I think we are going to go back to a model where we are looking for people to trust – this is a core human need – there’s so much choice and so many algorithms – for example, if I listen to too much Americana, that’s all the algorithm gives me next week – as we become more digital and digital fences break down – people will fall in love with a brand, an idea – globally branded playlists, driven by the personality of the curator.
Basically, people are going to fall in love with curators. But what’s driving your business? Curators, or listeners hearing about it?
The recent Neilsen 360 Review of Music in USA highlighted 6 big themes in music consumption – number one was the emergence of playlists and curation, and 48% of people surveyed enjoy creating their own playlists and listening to personalised playlists, rather than algorithms. They like listening to their own playlists and listening with friends.
So, we’ve created the place where they can do that. We’ve turned the phone into a broadcast device.
We think the social side of BlueJay is like Instagram – the key for us is providing the right experience for curators – and allowing people to listen to a curator they have a connection with.
Andrew: It’s built around three core principles:
Streaming is changing everything, we see the IPO’s, etc, and that’s going to change the industry because revenues are going to grow
If it’s about streaming, it’s about audiences – the number 1 challenge for a lot of apps out there is trying to get people in. That’s the challenge – and at Musicto we wanted to test human behaviour first, before building a big development.
If it’s about audiences, it’s all about the music recommender – is it algorithms and AI and machines, or humans, and it seems the answer is it’s all of that, but with a human feel, that’s critical.
Musicto is now in the top search results on the planet for “be a music curator”
We are building a platform for curators – we anticipate that 100k people will try it, 50k will give it a try and then drop off, 40k will do it for fun, and for the other 10k it’ll not only become a part of their life but they could start generating revenues, in fact we think a few of them could actually make a living from their playlist.
In a world of infinite content, the #1 challenge is growing an audience – whether you’re a playlist, an artist or an app – to get people to stick around – for an artist to get more than 1,000 listens – is really hard. The difference between Music to and other playlist communities is that we teach our curators how to market their list. What we know from the digital marketing world is that if you want something to reach a wider audience, most of the time it’s 10% content production and 90% sharing and outreach.
If you want to grow your audience you have to be prepared to do the work – to learn how to use the social platforms, how to set up a tweet, how to use automation, all those things. The reality is that the vast majority of people who make a playlist or who want to be a rock star – don’t have the time or real desire to do the work. They’re happy making the track or playlist but they’re not willing to spend the time in the week marketing and working the platforms.
We are very careful in who we take on board as we’re looking for people who are prepared to put the time in.
Our organic traffic grew 80% last quarter – we’ve received almost 4,000 track submissions since the beginning of the year and as I said we have a waiting list of over 100 people waiting to become curators.
We’re focused this quarter on driving the internal culture of the community – setting up systems that enable us to help each other better, to capture ideas and best practices and continually tweaking the site and track submission process. We are on target to hit 100 active curators by August this year at which time we should be generating over 300,000 page views a month at Musicto.
While that kind of traffic will generate what we call “eyeball” revenue – list sponsorships etc – the real revenue stream is in signing individual tracks to the playlist. When a playlist has several thousand subscribers – and these are real subs, not fake subs from the Philippines or elsewhere – it means that we can offer artists access to that audience.
Instead of signing a multi album deal with a label where they share streaming, licensing, publishing revenues, etc – we offer artists single track deals where we only take a percentage of the streaming revenues, with our audience we can ensure that the artist’s track gets listened to thousands of times – if it’s good – that is enough for the Spotify algorithm to notice and start moving the track onto their feeder lists. This is the new definition of how you break a track – the trick is to have real live humans in your audience and that takes a long time to build up – but that is what we are doing.
The cool thing about Music to is that we also give the curator a percentage of the streaming revenue – in fact the same amount that we pay the artist. this gives the curator an economic incentive to grow their list and market the track – it really is a win win.
If you consider a playlist curator after three years can typically have 35,000 followers across the social platforms and maybe two or thousand subscribers on Spotify – if not more – if they are signing a track a month and making a good percentage of the streaming revenue – then they are becoming their own mini label – all driven around single track streaming revenues based around the audience they have built. And because they do this in their spare time – they have no overhead and it allows them to grow in their own time.
The trick is finding the right people and we’re getting much better at that. Our current curator attrition rate is 22% and working to bring that down in the teens.
Andrew: Curators, playlisters, labels – anyone who wants to broaden and get more control over when and how they can play their music, and who to, and still get Spotify and other streaming services credit from this.
Currently if you put something on Spotify, you can’t really influence who listens when and you can’t listen together. Let’s say a music business has say 6 artists, and all up they have 300k followers. If you run a playlist of 12 songs, 2 each from 6 bands, and the business promotes this and when people listen they listen on Spotify and those listens count as plays – that’s interesting because they have more control over who listens, but you have to work to make it happen.
We have a platform – for the sheer enjoyment and engagement of friends – the same as Instagram – for curators and listeners –
for professional artists.
You’re a platform, should we be on it? Hell yeah. Our curators can operate on your platform – that’s part of them still building their brand independently across all platforms.
If you’d like to get your playlists in front of a new audience, why not host some sessions on the BlueJay app? Download it for free here:
April 11, 2018
We spoke with Booy from Spingrey to find out more about his love for curating playlists and what 5 tracks he would definitely have on his BlueJay playlist!
Booy: We all do what we’re good at. That’s why we make playlists. Together with Jord, Pieter and Mike, we started SpinGrey in the summer of 2013, and matured into a well-known music platform that thousands of people enjoy today. We provide our listeners with music for any mood and occasion. No matter if it’s Sunday, you’re in the car or at the beach, we got the perfect playlist.
Booy: We curated playlists even before playlists existed. From mixtapes on cassette tapes in the 90’s to burning mix- cd’s for our friends in the 00’s, we spend days curating music. So, it became very natural to start actual playlisting when Spotify emerged. Our branding geniuses Pieter & Mike came up with the name and the logo, and like that, SpinGrey was born.
Booy: We feel that all major playlists (Spotify, Filtr, Digster, etc.) are very similar, containing music that is hot at the moment. At SpinGrey we want to be different. Our playlists enable you, as a listener, to discover new – and/or rediscover old tunes, while enjoying a sound that still perfectly fits the mood you’re in or that thing you’re busy with.
Booy: If music fits, it fits. We don’t make hard distinctions between music being familiar or undiscovered. But, as mentioned, we do like to expose our listeners with music that they have not heard before.
Booy: Although we only add tracks that we think are suitable to one of our playlists, we’re of always open to hear the latest releases of artists and labels. People reach out a lot though. As we run SpinGrey in our spare time, we filter the personal messages from the copy-paste ones (if you’re a label or artist: it’s pretty easy to distinguish ;-)). Furthermore, we have a playlist which we call the ‘SpinBox’ to which artists and labels can drop the tunes they want to bring under our attention.
Booy: The Guest List of the Slow Show. Because I’m a big fan of these guys and they’ve got a very similar taste in music.
Booy: Of course! Anytime I have to do work for myself I got my headphones on. Today I listened to the latest albums of Car Seat Headrest and Big Thief. Beach Life-In-Death of CSH is my favourite tune of 2018 so far.
Booy: My first playlist on Spotify was called ‘KLAP’, which consisted my favourite hip-hop tracks. The title of the playlist is referring to a lyric of a Dutch rap-act, called Opgezwolle. Anyone not from the Netherlands probably never heard of them, but my advice is to have a listen.
Booy: Algorithms are great, no doubt about that. I’ve discovered a bunch of tunes because of them. But I discover the really great tunes because of my friends or playlists of Spotify users with a similar taste that I follow. Therefore, I’m convinced curation will always need a human touch. For the element of surprise, which algorithms can’t compute.
Arcade Fire – Rebellion (Lies)
Kanye West & Sampha – Saint Pablo
Crosby, Stills, Nash & Young – Almost Cut My Hair
Ought – Beautiful Blue Sky
David Bowie – Five Years
Hard to say if these are my 5 favourite tracks of all time, but they we’re the ones that first popped up in my head. I think it represents a nice mixture of genres and decades, perfect for a SpinGrey Session.
Booy: Spotify had a great tool for this, back in the days when they still had apps. I don’t know the name anymore, unfortunately. You could create your own radio-session with anyone that joined, which was awesome. So yeah, when I speak for myself I think there’s still that appetite.
Records OR CDs? Records
Downloads OR streaming? Streaming
Albums OR singles? Albums
Human curation OR algorithmic curation? Human
Host OR listener? Host
Popular playlist OR your own playlist? Own
Play in order OR shuffle? In order
Headphones OR speakers? Headphones
Tupac or Biggie? Tupac
Lead singer, guitarist, OR drummer? Drummer
We are always interested in hearing new sounds from great performers. Send us your demo and get your music out there! Head over to our website here.
If you’re a keen playlister and want to share your playlists with your friends or a brand new audience, download the BlueJay app here:
April 10, 2018
This week, we had the pleasure of interviewing Clara and Tom from Music Venue Trust. They reveal why saving London’s Grassroots Music Venues is so important and tell us what 5 tracks they’d definitely include in their BlueJay playlists!
Hi, our names are Clara and Tom and we are Music Venue Trust’s first ever staff! We work as Administrators based at MVT’s London office at Ministry of Sound.
Music Venue Trust is a registered charity founded in 2014 with the aim of securing, protecting and improving the grassroots music venue (GMVs) network around the UK. In London in the last decade 34.7% of GMVs have closed down and this is a wider trend we have seen across the country.
With business rates on the rise, numerous noise complaints, and the constant threat of re-development, running a grassroots Music Venue is an intense labour of love. MVT acts to highlight the important role these venues play in the fabric of our communities and to act as one voice for venues around the country.
At MVT we, unsurprisingly, believe that venues play a vital role in the cultural and economic vibrancy of towns up and down the country. Grassroots Music Venues act as incubators for tomorrow’s biggest acts. They provide a place for artists to learn their craft and grow their audiences.
Without these music venues, we wouldn’t have had the likes of The Beatles, The Clash or Radiohead. Consequently, if we don’t actively recognise, value and invest in our grassroots music venues, then there won’t be any more Adeles, Stormzys, Ed Sheerans to go on and break all records. GMVs are a crucial part of our cultural heritage and something we need to fight for.
There are also economic reasons to protect out live music network. The UK music industry has a long and successful history of exporting fantastic artists that have changed music forever. As a nation, we punch massively above our weight in this respect. However, now is not the time to become complacent.
Yes, our history of great live music is something we should be incredibly proud of, but just because we have been good at this in the past, does not mean we will always be a world leader in music. Without valuing our GMVs and investing in their future, we risk falling behind other countries. It, therefore, makes both cultural and economic sense to protect our fantastic network of Grassroots Music Venues.
The decision to focus specifically on Grassroots Music Venues was a conscious choice. Every member of MVT is an avid gig-goer and lover of live music. However, the choice to focus on Grassroots Music Venues runs deeper than just our love of live music. A primary reason we focus on GMVs is that they are not treated as cultural equals compared with other forms of culture.
There are systems of funding and support already in place for other cultural spaces such as theatres, arts centres, community centres, concerts halls and the like. Yet, time and time again, small Grassroots Music Venues are overlooked by these schemes and undervalued. Grassroots Music Venues are routinely viewed not as places of culture, but commercial ventures.
Music Venue Trust wanted to focus on GMVs because we avidly believe these are places of importance and want to change the lingering perception that GMVs are outside the realm of culture.
Grassroots Music Venues remain crucial to the development of artists and bands. Despite the rise of reality TV shows and social media, musicians still need brick and mortar venues to develop their talent and grow their offline audience. Performing at a small music venue is a vital reality check for most musicians.
Whilst, social media is now an integral part of developing an audience, its effects can also be deceptive. In order to see where you actually stand in terms of likes and follows, musicians need to pair their online platforms with performing in small venues. It is in these small venues around the country that musicians can track their social media reach in actual ticket sales and real people in the pit.
We are very lucky to have the backing of many artists and musicians across genres, from Elbow through to Billy Bragg, OneDa, Fickle Friends, and Rhoda Dakar, who act as Artist Patrons. Our biggest ‘name’ is probably Sir Paul McCartney, you don’t get much bigger than that!
Frank Turner is also a Patron who is incredibly vocal in his support for MVT and fronted our successful campaign to get the Agent of Change principle adopted. We are very privileged to have the support of so many amazing artists and bands. They all get what we are trying to do and we appreciate them massively.
We are also very fortunate to be involved with some great partnerships, including our Fightback: Grassroots Promoter scheme in collaboration with Music Planet Live. We have fantastic partnerships within the music industry including bodies such as UK Music and The Musicians’ Union.
As well as support from groups like Ticketweb, Live Nation, Kilimanjaro Live, Jack Daniels UK, and Safe Gigs for Women. They all understand how vital GMVs are to our cultural landscape and want to help secure their future.
We have just launched Fightback which is the fundraising side of MVT so there is a long-term plan to support that. We also have a very busy 2018 ahead of us. In October we have our annual ‘Venues Day’ conference which is always a highlight of the year.
Then in the longer term, we have some exciting projects in the pipeline to be announced throughout the year, and obviously to continue to support our grassroots network.
Sure, last year our Emergency Response service directly intervened to tackle and halt threats of closure faced by 41 Grassroots Music Venues. Amongst those cases were venues such as The Cellar in Oxford, King Tuts Wah Wah Hut in Glasgow and Clwb Ifor Bach in Cardiff.
Fightback is the fundraising arm of Music Venue Trust. This will see a series of gigs taking place in GMVs across the country. The funds from these shows go to our Emergency Response service. We have also just launched our Fightback: Grassroots Promoter initiative in partnership with Music Planet Live.
We wanted to tackle the lack of diversity in the music industry head on and do something positive. Fightback: Grassroots Promoter will see women under 25 promote their first ever shows at grassroots music venues across the country! We have been blown away by the positive response we have had to it so far.
Fightback is an ongoing programme of gigs taking place throughout the year. We will be posting more about it on our social media and on our website, so keep an eye on that. For more information on getting involved head here.
Tom: Rage Against The Machine – ‘Take The Power Back’. Why? It’s a tune and sums things up!
Clara: Tom Petty – ‘I Won’t Back Down’. Why? It’s a total classic and sums up the spirit of MVT.
Tom and I are always listening to music in the MVT office. We’re based at Ministry of Sound in Elephant & Castle so dance music is always playing in the office! Our Patrons Fickle Friends released their debut album ‘You Are Someone Else’ recently so we’ve been listening to that on repeat. We’re also both partial to The Xcerts, their new album is ace.
Clara: This is a tough question. Currently, I’ve been listening to these 5 songs a lot: Magnolia by Gang of Youths, Rollercoaster by Bleachers, Skin Tight by Hunter & The Bear, The Opener by Camp Cope, and Glory by Dermot Kennedy. They are all great, check them out.
Tom: Extremely difficult to answer I have a mixed taste of everything from UK Garage/Dancehall to heavy metal and singer songwriters in between. If I like it I like it!
Clara: ‘Songs that I sing in the shower, often and off key’
Tom: ‘Messed up, confusing and personal!’
If you want to actively support the work we do then consider donating to MVT, but by far the easiest thing anyone can do is head to their local grassroots venue, watch the bands, and buy a pint! In the longer term, make sure to get down to one of our Fightback shows, support the venues and have a good time!
To learn more about the work we do head to our website here.
Host your own live public radio shows with your music collection straight from your mobile! Download the BlueJay social radio app here:
April 9, 2018
We were lucky enough to be able to interview rising star Emmanuel Nwamadi to get the low down on his up-coming event and what we can expect from his BlueJay sessions.
I’m really about evoking deep emotion in my music, I feel great pleasure in doing this, because I listen to very deep emotional songs and it puts me in a state where I feel happy. I don’t know what it is, emotional music, does the opposite to what it does to the majority, it just makes me feel so happy about life.
It brought me great confidence, I really didn’t believe in my sound until having the opportunity to be on the show. Reading the YouTube comments and seeing how people received what I did, really gave me the confidence I needed to actually take music seriously, as I feel it was a huge hobbies of mine, but I didn’t really believe it could turn out to be what it is now. In terms of changing my sound, I wouldn’t say it has, because I’m content in the sound I have at this present moment.
You suggested songs you liked, the team did the same, then they talk to the big guys and they pick from it, so they work around you. My favourite song was Sade “Sweetest Taboo” Otiz Redding “I’ve been loving you”
Grunge Bands such Alice In Chains and Nirvana
Theme music in video games and friends really. I actually found Alice in Chains in a game called “Burn Out Paradise”
Lil Peep “The Way I See Things” Mage “The Words I Never Said “ and some unreleased songs I plan to get out
Shristi Jade, we’re able to work organically and be honest with what works and what doesn’t
Layne Staley From Alice In Chains
Crazy Town “changes” Lil Peep “The Way I See Things” Electus “To A Friend” “Shristi Jade “Own”
And my own song “Cant Help The Way I Feel” 😉
My upcoming Single “Cant Help The Way I Feel”
Dark, Emotional and timeless
All platforms, ITunes, Spotify, Google play and my social media. Twitter: @Emmanuelandrose Insta: @Emmanuelandrose Facebook: Emmanuelnwamadiofficial
2018 I plan to release quite a lot of material and I have quite a few festivals I’ll be performing at.
Emmanuel will also be performing at Jimmy’s ‘Heart and Soul’ event on May 10th, a Manchester edition of a new showcase featuring acts local and from out of town.
He will be joined by local talent in the shape of:
To attend this special event, get your tickets here.
Be sure to tune in to Emmanuel’s BlueJay sessions (TBC) for an exclusive preview of his new music. Download the BlueJay app here:
April 6, 2018
We had the pleasure of interviewing Jason from SubmitHub who revealed why music plays a massive part in his day to day life, and why he’s helping musicians get publicity for their songs.
Jason: In a nutshell? SubmitHub is a website that connects musicians with bloggers and playlisters who like to share music.
Jason: So there are two sides to the SubmitHub “equation” — bloggers and the people trying to send music to them. The bloggers use SubmitHub because it’s way easier than dealing with email submissions — *and* they get paid to do it. The musicians use SubmitHub because it makes it really easy to figure out who to send their music to, and guarantees they actually get a response from the bloggers (there’s a positive response that means they’ll get some publicity for their song).
Jason: Constantly! Here are some of my favourites. My music listening gets broken up into three clumps, so to speak: 1) sorting through the ~100 submissions a day that my log Indie Shuffle gets; 2) listening to Indie Shuffle while I code/work; 3) listening to albums/throwbacks when I’m cooking or hanging out with my family. It’s a good balance given that I’ve pretty much got music playing from the time I wake up until the time I go to sleep.
Jason: Tough question to objectively answer — I think a lot of it comes down to a gut feeling. Would you prefer a meal cooked by a robot, or a meal cooked by a human? There’s more character to the latter, and I think the same can be said when humans are the ones doing the curation. Robots don’t have emotions.
Jason: Super duper easy. Not only does good tech make it really easy to tell which songs people like and which ones they dislike, it has also made pretty much all the music in the world easily accessible.
Jason: I remember that I’d sit in front of the radio waiting for my favourite songs to come on and then hit record on the tape cassette. Those were the “playlists” of my day 🙂
Jason: For starters we’d need to hone in on a genre/mood. I’d probably then go with songs that are agreeable with large audiences rather than getting too niche or experimental. As for the “session” title, I reckon it’d be something somewhat generic and easy to understand, such as “music for working” 🙂
Records OR CDs? Records
Downloads OR streaming? Streaming
Albums OR singles? Singles
Human curation OR algorithmic curation? Duh
Host OR listener? Listener
Popular playlist OR your own playlist? Own playlist
Play in order OR shuffle? Shuffle
Headphones OR speakers? Quality!
Tupac or Biggie? Biggie
Lead singer, guitarist, OR drummer? Guitarist
Simply head on over to our website here.
If you have a passion for music curation and want to get your music in front of a new audience, download our social radio app here:
April 5, 2018
Dam/Carlos, we saw this comment recently posted on social media: “In a competitive arena run by the major labels, it’s people like this who do so much for independent artists. Way to go Indiemono! And their playlists are SO GOOD!”
Dam: Hey! Yes, it’s amazing to read such fantastic reviews. Our story starts out of love for music, with a pile of mixtape cassettes and music cd’s for friends with our selections – the natural evolution are playlists, and that’s our core. We’ve learnt a lot these years about the music industry, the artists behind everything and the direction where things must improve.
The journey is fun, with the usual struggles; money to keep up a competitive business, an old market that is well stablished and is scared of you and finding time for hundreds of songs in your inbox every day.
Carlos: We’d like a new version of the music industry; with less elites, more attention to small projects and the priority of quality over budget. We want to be an oasis for music discovery that smooths the edges between celebrities and garage bands.
Dam: We had a couple of crisis, all related to threats from greater fish that don’t like what Indiemono is doing and invested insane amount of money to make our project invisible. I guess a little support from entities like Spotify – where in our opinion our work helps improve the platform – would have helped improving our situation.
But it’s never too late and we’re open to chat. We’ve finally found a path hand in hand with artists and bands, which is even more fulfilling.
Carlos: I don’t think that’s a problem as our audience was outside of our borders since the beginning. We’re all close in this digital world! It’s fun to travel around the world meeting bands you have supported – attending their concerts and partying with them is real fun.
If we were based in the US for example, I think we would have meet more related business and maybe grow a bit quicker, but hey, Spain is a beautiful country!
Dam: I can’t give you a really extensive answer as it’s a really strange and personal way to organise it, but; you start with an hypothesis – let’s say “Roadtrip”: everything starts with some examples related to the topic and then start piling up music that ‘feels’ like it. After having a good amount of music you have to listen to it and dismiss a lot more.
I establish a max number of songs and double check it twice before publishing. We’re mostly focused in mood playlists but everything you mentioned counts.
Carlos: We try to listen to everything we receive – and that’s a big piece of work to start. The free system we have is based in automation and on leaving traces of whatever we add to playlists through our site and profiles.
We’re working in something to have a personal approach with our submitters, right now we approach and try to start conversations as much as we can. We try to give visibility to the songs we find great and its open access to anyone willing to find new music, like curators, brands, a&r, etc.
Dam: Well, don’t tell anyone but we’re about to launch our own label! We believe is the natural evolution of what we do and we took our time to make it right, wish us luck!
Carlos: The tools to create playlists right now, having the access to the amount of music in streaming services.. well, it’s amazing! In terms of future changes, it’s possible that algorithms take over on the music curation market.
I don’t see algorithms as a threat as they are a great tool for accurate curation, but when they are developed for certain interests, that might be a problem. We’d like the figure of the music curator recognised as a respected professional, let’s see if we’re lucky!
We study every case first. There is a lot of casual growth, or people who got famous with a track or celebrities… That’s not what we understand as 100% curators. We host a lot of playlists in our site from different profiles and genres, not necessarily with a great follow (we have some of them with less than 100) or with a relevant name in the industry.
We like well curated playlists, focused on quality over everything else. There are a lot of interests in curated playlists; you must ask yourself who is curating that playlist and how it’s making money.
As for involvement, most of them are only hosted in our site as we try to give them visibility – they also have access to our submit system in case they want to add music from our lovely submitters, but that’s not mandatory.
That’s a tricky question. Commercial success goes with heavy investment – what we’re building is heavy work, but brick by brick and with little or non-existing budget. We believe we’ll get there eventually, the secret is HARD WORK and saying goodbye to weekends.
At the moment;
Carlos: I’m obsessed with Alternative RnB – Berhana is a great example.
Dam: I’m so into Japanese fusion trip hop right now.
Records or CDs? Definitely Records – one of our office’s walls is completely filled up with vinyls.
Downloads or streaming? Streaming always.
Albums or Singles? Singles, sadly.
Human or algorithmic curation? Human curation + help from algorithms.
Host or Listener? We’re picky listeners, we try to provide playlists for every party we go to, haha! Definitely hosts!
Play in order or shuffle? If it’s done well, shuffle will always work!
Headphones or speakers? Speakers full volume to share with your neighbours.
The Beatles or the Stones, Tupac or Biggie? The Beatles.
Lead singer, guitarist or drummer? Tequila with all of them.
Listen to Indiemono’s eclectic mix of playlists here!
Indiemono will be hosting a bunch of sessions on BlueJay, tune in to their first session on Friday 20th April at 7pm GMT – be sure to download the app, connect to Spotify and tune in!