TikTok Is Pulling The Strings On The Music Industry
Image of TikTok on smartphone
TikTok is rewriting the rules on what it takes to become a successful artist. It is now an essential tool to becoming a pop star. In a music impact report by Tiktok and Luminate, it was stated that 84% of songs that made it the billboard global 200 first went viral on TikTok and that artists reported an 11% increase in weekly streaming volumes compared to 3% increase for streamers who don’t.
With the increase in short-form content, music has had to adapt to the streaming era. BBC reported that TikTok has reduced the average length of songs, typically by skipping the intro and jumping straight to the chorus. Bridges and Outros have also seen a reduction in TikTok songs. This leaves newer songs with a simpler structure and shorter length than the average pop song of three minutes. This has been criticised extensively by listening and artists for creating a formulaic structure that has become uninspiring, unoriginal and overused.
On the one side, TikTok has had such an impact on artists who are self-promoting and reaching a global audience as well as reviving old songs that may not have had their light. In addition to this, music has become a lot more accessible to a wider audience. In the report by Tiktok and Luminate, 74% of U.S TikTok users are more likely to discover and share new music on social media than those who do not use TikTok.
However, one large critique made by gigpig, as well as many artists, is the low royalty payments they receive for their content creation. This is a trade-off between exposure and compensation which has caused increased pressure on artists. Including maintaining an active social media account that often come with creative burnout. The issue here is that new listeners do not always translate into loyal listeners.
TikTok: The Viral Killer
Image of TikTok application with headphones
Tiktok is killing the energy of smaller artists.
As a musician you must promote your music via the content creator route to achieve success. Compared to how it was traditionally, where you would do a lot in person networking, physical promotion, and relying on radios and other media to reach stardom, all that is needed now is a curated melody that has been revised for short form content that must be promoted religiously. Otherwise, the modern algorithm punishes you for inconsistency or in some cases for posting not enough videos in a day!
In an article by Business Insider, the pressure to maintain a social presence is felt by those who are already well-established artists. Performers like Halsey and Charli XCX have expressed frustration over their record labels to create TikToks regularly. Saying it could be “really stressful” to balance social media promotion, performing, and writing or recording new music. But even then, well established artists are contractually obligated to post, whereas artists who do not have the backing of a multimillion-pound record label are forced to pick up content creation as their second job that is unpaid.
But at the end of the day, is the second job worth it? Over the past couple years, TikTok has been hit with waves of criticism for its lack of compensation rates and its low safety standards for TikTok users. In a Guardian piece reporting on UMG’s decision to pull its catalog of music off the platform, Universal alleged that TikTok was selectively removing the music from developing artists. TikTok naturally denied these allegations of course.
TikTok is not all doom and gloom for artists. Luminate state that TikTok is the secret to predicting what songs are going to appear on the billboard top 200, where 84% of songs appearing on the list were originally songs that went viral on the platform first which is great news for developing artists without much promotion outside of TikTok.
It has been long debated that TikTok encourages artists to create a certain type of music that is artificially designed to go viral. But it is unsure whether this formula translates into long-term success.
It is safe to say that TikToks existence has left a damaging impact on future artists. Not only do they have to make the music, but they also must become a content creator machine to get anywhere. And even when a song goes viral, it does not mean they have made it. If they are unable to translate it and capitalise on the five second fame, they are still at square one.
“Don’t say no, say yes, you’ll learn on the job.”
Susan Bettaney details her adversity through music and the victory on becoming a piano teacher
Image of Susan Bettaney
It’s a bright spring morning and Susan Bettaney greets me with a warm embrace followed by an ice-cold drink with ingredients from her garden, wearing an all-pink outfit from head to toe. She leads me to her conservatory; the interior is white and grey, including a white grand piano that is catching the sunlight. The sun reflects off the glass, which heats the room up.
Bettaney shares her first experience with music, which began when she was only 3 years old. She grew up in a musical family where her mum and relatives played instruments. Her brother was 2 years older than her, and she was able to play the pieces he was learning. By the time Bettaney was 4, she started piano lessons. She recalls as she was brought up with a musical background in Radcliffe, where she knew early on her music ability was clear, “I knew I had a good ear, I could hear things very, and a good rhythm.”
She started lessons with a teacher who lived nearby, by the time she was 5, she was already entering festivals and doing well in them. She was a natural and by the age of 12, she was already playing in the Stockport Youth Orchestra, playing Mozart’s Coronation Concerto. Encouraged by opportunities in Stockport, Bettaney was also involved in the Maia Choirs. These experiences built on her musicianship which included solos in concerts. “This is where it all began” she says as she sits down beside her white piano to unload her entire music career, key by key.
Her music experiences only got bigger, gaining a scholarship at Manchester College of Music studying piano and singing which lasted 3 years, “This intensive course gave lots of practice and getting ready for the musical world.” I took a moment and wondered if she really knew the depth of her talent at this age.
She goes on to say, “the college was terrific and it brought me on tremendously.” Achieving a 4-year turning into 5-year scholarship which ended with a singing diploma. This diploma had difficulties as learning 3 languages in 1 year on top of a piano degree is intense. But somehow, her life was reaching new ledger lines.
She went on to start teaching at the age of roughly 16 as she was asked by the Manchester School of Music if she would teach the 5- and 6-year-olds. This was her first teaching job, and she had not had any prior experience as she was 16. The oppourtunity was too good to turn it down, “I always say yes, I never said no.” This mindset got Susan Bettaney many opportunities and opened so many doors for her. Even at such a young age, she has always had such a strong mentality.
From then on, she wanted to pursue teaching professionally. Bettaney was always in the right place as jobs always came to her, no need to look for them. A huge oppourtunity appeared as Chetham’s School of Music was about to rebrand from a grammar school to a specialist music school. It was here that under the new re-branding, Bettaney continued her lifelong career in music as a teacher; taking on a part time music teacher working one day a week. She was one of 4 teachers who had the first 4 full time jobs in this rebrand.
She believes that “you have to have that burning passion and desire then to work hard and practice a lot. Overcome, you learn to lose before you win.” It is true that having a strong personality can determine your musical success, as well as having good practice ethics and stamina. “You never know what’s round the corner.” No matter what path she took, she would always fine tune it to her liking.
After around 15 years of teaching at Chetham’s, she wanted to also be involved in something different. EPTA (European Piano Teachers Association) was the next stage for Bettaney. She recalls an interaction with Nadia Lassison, “… she approached me and said would I please be on the executive committee in Europe?”. Bettaney ended up on the management team for EPTA UK in London and spent time under Lassison’s expertise. ‘EPTA was the best thing I ever did.’ She said after taking a sip of her ice drink, reflecting on the travel experiences EPTA has brought her.
Even though she did not pass the singing diploma at Manchester College of Music, Bettaney continued to purse the highest of dreams. ‘I didn’t pass … but it didn’t matter.’ Little did she know that her determination to continue with singing lessons after a devastating setback would go on to have lessons with a famous soprano named Isobel Bailey.
Reflecting on the most rewarding part of teaching piano for 46 years, she says, “It’s just seeing people climbing up the ladder, enjoying the music and achieving really.”
Image of Madison Beer’s photos for album launch
Madison Beer’s album ‘Locket’ review
It took me a few listens to like it.
It had felt like a step back compared to her last album in 2023, Silence Between Songs, where not a single skippable song was produced.
She released “Bittersweet” as a single. “Bittersweet” sounds like the same as her older works. Lyrically, this track is too simple, which degrades Madison Beer’s songwriting ability. The enemy in the songwriting is the rhymes, as they are so generic and uninspiring. Beer has expressed her confidence in doing what she wants; however, this confidence is translating into mundane lyrics with not much thought.
This mentality spills into her other songs. Angel wings’ concept is overused; wishing your ex were dead is like beating a dead horse. Especially if the lyrics are as bland as “I hate you, can’t kiss you, if I do, might miss you”. There is a false ending used, but this is a part of Beer’s skill to transition between songs on this record. This is the only part that makes me feel alive, where you can get a sense of Madison Beer’s creativity coming alive. But if you’re not paying attention, you’ll miss it.
Structurally, the album has had a lot of thought put into it, with the end of each song used as the intro to the next, creating a unique twist if you’re paying enough attention to the instrumentals – a hidden detail I did not notice until my third listen.
The album does have it’s moments to shine.
“Yes Baby” is a different style of song to what she usually creates. Experimenting with a more club-friendly vibe which feels like she is tailoring towards a more mainstream approach by incorporating more synth-pop and dance elements into her future albums. This song was her testing the waters and seeing the audience’s reaction. She has potential, she just needs to polish the delivery.
Another song that does this is “Bad Enough”. Easily the strongest track on the album, as lyrically, it’s super clever how she has written this – alternating between two strong emotions of push and pull with a range of vocals layering on top of each other to create a juxtaposition of tone throughout the track.
Overall, there is more to this album than we think, we just have to find the key and open this locket up.
Appendix
Audio recording of Susan Bettaney’s Interview:
Transcript of Susan Bettaney’s Interview:
Me: What’s your earliest memory of the piano?
Susan Bettaney: I had a brother who was two years older than me who was having lessons at the age of five but I was three years old and he would come back from his lessons, and I could play his pieces
Me: Wow.
Susan Bettaney: So mum and dad knew I was going to, I started piano lessons at four. I came from a fairly musical family on my mother’s side where all her relatives played instruments of some sort in bands or orchestras and that was the biggest influence it was. I was surrounded by music a lot from a very humble background in Radcliffe and I had, I knew I had a good ear, I could hear things very, and a good rhythm.
So I started with a local teacher just down the road who taught at Stockport Grammar School but she, I was privately at her house down the road and then from probably the age of five, in the five and six year old festival classes she entered us in the piano sections and duets and things and we did very quite well really.
So, it all started there. I’m grateful to Stockport because it was very, very good in encouraging young people in music with Stockport Youth Orchestra and the Maia Choirs, M-A-I-A, Maia Choirs which you could audition for from the age of nine and there were lots of concerts put on and I was lucky enough in the intervals they would ask me to do solos in the concerts. So that’s where it all started really, the journey.
Me: When did you begin to take music more seriously?
Susan Bettaney: It was always a natural thing to do, it was serious in a way, probably from when I would join the Maia Choir and I did play Mozart’s Coronation Concerto with the Stockport Youth Orchestra at the age of 12.
Me: Wow.
Susan Bettaney: So I was on my way really. I was also very good at sport so it was between when it came to 16 years of age you could leave school and I was encouraged.
I was given a scholarship to the Royal Manchester College of Music which swung the balance away from sport
Me: Yeah.
Susan Bettaney: into the music so I attended the Royal Manchester College of Music studying piano and voice. Piano with Clifton Hellewell accompaniment, Derek Wyndham piano solo and Caroline Crawshaw in singing and then in those days it was a comprehensive three-year course then where you had to have accompaniment sessions, you were placed each year with a different instrument. So the first was violin with Pamela Whitworth, the second was a singer, I can’t remember the names, and then the other was an instrumentalist, clarinettist.
So you had good practice really
Me: Yeah.
Susan Bettaney: throughout the instruments and then the art of teaching classes and things and you had this big group singing where they did Aida in the main hall. So there’s a comprehensive education in those days. Yes it was very good, the college was terrific and it brought me on tremendously.
I actually then got, it was a four-year scholarship but then that was extended to five years with the singing and Caroline Crawshaw wanted me to do a singing diploma but unfortunately I didn’t pass that at the end because you had to do three languages in one year.
Me: Three in one year?
Susan Bettaney: In one year and I failed on the languages. I passed on the singing and the accompaniment, I got accompanying diploma as well but I didn’t pass on that but it didn’t matter.
Me: No.
Susan Bettaney: And when I left I still wanted to sing so I had some lessons with Isabel Bailey, the famous soprano because I had a very English voice then and I thought I needed opening out at the Manchester School of Music where I was then asked to teach at the age of about 16, would I take all the five and six year olds at the school? So I always say yes, I never said no. So off I went on Saturdays to do this and then I did some accompanying with Isabel Bailey as well, I played for her and that went on for about two years. I enjoyed teaching the five and six year olds,
Me: Yeah.
Susan Bettaney: very good experience for us.
Me: Did that make you want to teach?
Susan Bettaney: Yes, I’m going on now, you can speed it up. An opportunity because the Chetham’s School of Music was going to open. All the music prior to that had been through Manchester which was very strong
Me: Yeah.
Susan Bettaney: and before Chet’s was actually a music school it was a grammar school and it had a very high standard of music in the grammar school so anything they wanted, they would ask the school to provide for the Hallé Orchestra, the Cathedral, just any events. I just had all the right teachers who were behind the opening of Chetham’s School of Music with Derek Wyndham, Clifton Hellewell was going to be the piano specialist,
Me: Yeah.
Susan Bettaney: Caroline Crosher was going to be heading the singing department
Me: Okay.
Susan Bettaney: and Derek Wyndham was also in on this and the Cathedral people who I knew very well from Stockport Grammar School as well.
So they asked me would I like to start and teach one day a week, that was all
Me: Yeah.
Susan Bettaney: as it was starting and the girls were coming in from Turton which was where Sir Humphrey Chetham’s who’d established the school and the library, the famous Chetham’s library was set up. So I started on one day.
Me: How old were you when you started?
Susan Bettaney: I must have been 20.
Me: Wow.
Susan Bettaney: I must have only been 20
Me: Oh my god
Susan Bettaney: because I’d done 21, I’d already done four years from 16 and that was, I’d call it 21 then.
Me: Yeah.
Susan Bettaney: So I had these girls and we were right up at the top of the school on an old Welmar piano then.
It was small, there were only about 150 pupils then and it was a day school and then that grew to two days, to three days, to four days and it took five years for the school to actually become established and developed. But in that last fourth, on the fourth year, the director of music and I said there’s not very much going on in concerts or anything for the younger children and the next day he called me into his office and gave me a full-time job
Me: Wow.
Susan Bettaney: along with Max Ritchie, the four of us, Max Ritchie for accompaniment, Russell Lomas accompaniment and Janet Malone was brass, was wind. So we had the first four full-time jobs
Me: that’s amazing
Susan Bettaney: which lasted up to 46, for 46 years really.
So I started, the school began to expand and we acquired more property. The shops at the front were turned into the mill gate,
Me: Okay
Susan Bettaney: to the, yes, and then eventually the teacher training college moved out and we, Manchester, we managed to acquire it.
Me: Yeah.
Susan Bettaney: There’s a swimming pool in there and everything. So that meant a few years later we could start the first boarding school, it became an independent boarding school so we could have far more pupils in.
Me: Yeah.
Susan Bettaney: The girls, I was still with the girls, I got some first studies and some second studies and it was mixed then with boys and girls.
Me: In your view, what makes a strong music student?
Susan Bettaney: A strong, somebody who’s totally passionate about music, about whatever instrument, the piano, singing, you have to have that burning passion and desire then to work hard and practice a lot.
Overcome, you learn to lose before you win.
Me: Okay
Susan Bettaney: That’s a good bit of advice. Don’t cry, but you’ll always climb, start climbing the ladder.
And now I run a lot of the alumni who, loads of them, and they’re all in plum positions all over the country and one branch of a tree to do with music. So it just goes to show with determination and a vision, you can achieve things with hard work.
Me: Yeah, what do you think it really takes to become a musician?
Susan Bettaney: Again, you need to have a good sense of rhythm, you need a rhythmic pulse. Probably you’re born with it, but you can improve it. You need extremely good ear, aural, and I think you need some personality to go with it, a vision of what you want to do and just practice and practice and practice, and you never know what’s around the corner.
Me: Yeah.
Susan Bettaney: And to me, nowadays they’ll say, they’re always asking me how, why do I do this and what do I do that? But the world is your oyster. It wasn’t in my day, you know, there wasn’t the internet or anything like that.
So if you think you’re good, it’s how good you think you are, not how good a teacher or a school or anybody.
Me: Yeah.
Susan Bettaney: Once you get out, you go for it and see where it takes you.
Me: Yeah.
Susan Bettaney: You learn yourself.
Me: How was your work with EPTA Europe?
Susan Bettaney: This was at the point after about 15 years of being at Chetham’s, I needed to get out and think of something else. And I had some friends, close friends in London, my brother was living in London and music and EPTA was going around and they approached me.
Nadia Lassison is the daughter of Carola Grindia, who set up EPTA in the 70s. She came over from Romania I think, better get that right, and set up countries into this EPTA organisation or membership of EPTA with the president of each country. And for some unknown reason, I was then on the management of EPTA UK in London. And she approached me and said, would I please be on the executive committee in Europe? And we had meetings then in her house in London, one of these very grand houses. And she said, come with me to Graz, there’s a conference there. I’ll take you under my wing.
So I went to Graz, it was my first conference. And I met, she says, I’ll introduce you to all the presidents of different countries. And that’s how I started.
And after that I seemed to go to, then went, Cyprus was a very important one. And I was asked to play in that with, I had a duet partner then called Quattromane with Joan Greenberg. And it was a week’s long conference in the capital of Cyprus.
And we stayed at the Hilton, which was wonderful.
And which was exchanged, we had a school there that the teachers and here exchanged. And there were lots of workshops. I played a duet recital, I can’t remember names. But it was a big Mozart concerto was played on the final, in the big concert hall there. That was wonderful.
And you’re treated, if you go to a European conference, you’re treated like a superstar. You have an evening meal, but they’re always in the best places that they are, Lefkara, where they make all the laces. And we went up to the hills to this for this gorgeous meal around a swimming pool.
And all the presidents were there. It’s just wonderful.
Me: Sounds like an amazing experience.
Susan Bettaney: Yes, it was wonderful. You meet people. And then that went on.
I think I’ve been now to over about 25 countries. Every year, they have a conference in one of the chosen president’s countries.
Me: Yeah.
Susan Bettaney: We decided I’m now a trustee of Europe.
So I have to go to the AGM’s, where we decide the next three years ahead, where it will be. It’s now going to be in the UK next year. But this year is in Tallinn, Estonia, where I’m going to play a duet recital there.
Me: It’s exciting.
Susan Bettaney: Yeah, it’s so many things, so many memories.
Me: Yeah.
Susan Bettaney: I can’t cram it all in. It was wonderful. EPTA was the best thing I ever did. And I always encourage people, students, to join it and go to conferences.
That’s the only way where you do meet people
Me: Yeah.
Susan Bettaney: and you hear others singing or playing. It’s a very good way of getting around the world. And even some of the, I had a pupil at Chetham’s, who was an incredibly, he wasn’t a brilliant pianist, and yet he was of good stock.
His father was an artist from London, Jewish. And you knew he was on the floor because he would do double octaves like you’ve never heard them. And all the kids said oh, there’s Michael Harvey. He’s on the floor but he didn’t have any credibility. They didn’t like him, I don’t know what, for whatever reason. So he had, I think I was his last hope. I think I was about his fifth teacher. He was passed around, all the teachers.
But I got this boy and I thought, right, what shall I do with him? He had a, I think he was dyslexic. Very tall. But I thought right, all the other teachers are giving him Beethoven volumes under their arm.
Me: Yeah
Susan Bettaney: But that wasn’t what I thought. No way.
I put him into the London Music Festival in the Rose Bowl class. And he says, can I play this Tchaikovsky piece? I said, we have a deal. You can play one of yours if you play some Scarlatti and some Mozart
Me: Yeah
Susan Bettaney: in the competition. Well, he agreed. And he came back with his hands full of the trophies. He’s won the Rose Bowl and he came in the piano corridor with all these and they gasped. And from then onwards, he’d got credibility.
Me: Yeah
Susan Bettaney: They couldn’t believe it. Then it was the concerto audition and he said, I want to do Tchaikovsky’s Piano Concerto.
I thought oh crikey your reading’s not very good, really. But in one week, with that dyslexic, he’d gone in his room at midnight, and he’d got the first movement off from memory, from nothing.
And he’s on the alumni now. And he’s been through EPTA. He’s contacted all these other countries, Jewish, and most Jewish countries have their own little Jewish city within them. So you can always get work. And he has, he’s all over the place. He’s in that cabinet somewhere. I have a picture of him somewhere. But you learn, you know.
Me: Yeah
Susan Bettaney: They’ll learn it their way. Don’t force it.
Me: Okay.
Susan Bettaney: But help them, guide them. And then they’ll do it themselves. Next question.
Me: What’s been the most rewarding part of your career?
Susan Bettaney: What’s been the rewarding part of my career?
Me: Yeah.
Susan Bettaney: Seeing the pupils, the alumni on Facebook, having achieved what they’re doing, be it radio, be it television, be it concerts, hear that they made their own way, even though they might have been at the bottom of the pile in those days.
But with determination, you can overtake those who are smart alecs, who always, you know, get everything. So that’s the most rewarding bit of actual teaching the piano. I still teach a very small amount. I retired in 2016 or 15. And I don’t want a huge teaching practice. But people come and ask, will I help them? Will I do this? And there’s an army of adult amateurs, adults.
Even the prime minister wishes he could play the piano. And the adults are rather good. And they’re quite keen.
They wish they’d done it so they work hard. And most of the ones I’ve had now, they probably were at grade 3 and I’ve got, they’re all getting, got diplomas now. And they’re all out there from doctors to dentists to things. And at Chetham’s, we have a summer school, which I started the first one 25 years ago, because it’s the 25th anniversary this year.
And I’ve been asked back so I’m thrilled to bits with that. I played duets in the first one, which was terrific and that’s grown and grown. That’s international now. I forgot what I was saying before that. What was it? What was my best achievement?
Me: About the rewarding part of your career?
Susan Bettaney: The rewarding. It’s just seeing people climbing up the ladder, enjoying the music and achieving really, yeah.
Me: My last question is, what advice would you give to young musicians today?
Susan Bettaney: It goes back to what I said earlier.
Me: Yeah.
Susan Bettaney: Believe in yourself. Push the boat out. That’s a good one. Push the boat out. Don’t say no, say yes, you’ll learn on the job.
I used to do also do, my husband was an opera singer and he started an agency up. And then one day he asked me, would I, would I go to this British Legion club, Tideswell British Legion club and play the organ for this, for the cabaret, you see? I said, but I can’t play the organ. I don’t play them. Well, there’s nobody else. You’ve got to get in your little sports car and off you go, which I did. When I got up to this club, it was the biggest organ.
C3 is the biggest electric organ you can imagine. Right. And I didn’t even know how to turn it on.
So I had to embarrassingly, I asked the chairman there, I said, look, could you just, and there’s a big switch, two switches on the top and you have to press the first one, and count to number 10. Then whilst keeping that down, you press the next one and hold it for 10 more. Then you let the first one go.
Me: That’s confusing!
Susan Bettaney: And then the motor, the motor is, is going. So I started playing the organ badly. I played it and after three weeks, the lady said, we’re enjoying this, enjoying your play, but we’re praying a bit.
I mean, you’re going back a long time now. And I hadn’t, electric organs weren’t electric keyboards weren’t around much.
And she said, we’re praying much because I hadn’t really understood what vibrato was in pop music. Anyway, there’s a big knob on the top with six numbers with different vibratos, so I turned it. Ooh. And I jumped six rungs up the ladder. I jumped up and I thought I better get some lessons on this organ somewhere.
So, I found a man in Manchester and I went and had some lessons in the course, which were in more popular stuff or how to play it. Anyway, I came back and who should walk through the door one weekend, but the winner of the ITVs, not like Britain’s got talent, Marty Kane, who was very famous, ginger haired lady. She’d just won that previous weekend, the telecom and I nearly died when I saw who was coming through the door. And she gave me the dots and she gave the drummer the dots and she said, I know I want them exactly like that. Exactly. So my, my drummer said, turned to me and said, but I can’t read. So I said, well, just keep bashing with it. Just keep, keep going and I kept going. And I got through, I stayed there about three years actually in that job. I had lots of money in my pocket it was jingling with money because you got double time, three times at Christmas or Easter
Me: Yeah
Susan Bettaney: over weekend for each one. So I learned again the hard way. I learned, I became an extremely good sight reader
Me: Yeah.
Susan Bettaney: and I learned all the chords. So that’s another angle. There are so many classical pianists who are very, very good, but as soon as you ask them to play anything off the chart or compose, just play, they can’t. No, I can’t do it. You’ve got to be versatile and do everything. So you don’t say no, you go and learn and do.
Me: Yeah.
Susan Bettaney: And that was satisfying too. And I still do that to this day, play anything. My list, my shopping list is huge. I go to music festivals and I tick off ones I like. Anything I like, I tick off and I go to the music shop and try and get them to buy them for me.
Me: Yeah.
Susan Bettaney: Same when I go abroad to Europe, I’m always ticking off pieces that I like and learning about the country’s folk, idiom or whatever, and trying to get them. You go to the archives and try and get them. So, there’s no end to your musical talents, but also the vision you have, knowledge.
Knowledge is power. So you need to have a great knowledge of all kinds of music and composers and places.
Me: Thank you for letting me interview you.
Susan Bettaney: Thank you.
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