Rassami Hök Ljungberg: In Music, Content Rules, Context Soars

The Revolution of Music: From Corporate Playbooks to the Playlists of Fans

Once Upon a Time, the Music Industry Was a Boardroom Affair

Until the last decade, the who listens to what and when was a high‑stakes decision made by record labels, radio stations, and ad agencies. They’d pick the artists, decide on the hits, and launch campaigns that told us what we should be listening to. The industry lived happily in a symbiotic, top‑down loop that had been the status quo for decades.

Now, Everyone’s Got the Mic

The shift is real and it’s messy. Take the latest drama between Ministry of Sound and Spotify—the latter won’t erase playlists that look like MoS’s compilation albums. But this isn’t a gentle transition; it’s a rock‑hard fight signaling that the old guard can’t survive when fans take control.

Technology Is the New DJ

Today, it’s on‑demand society out of the gate. Fans can reach out directly to artists and creators, measure fan demand, and find sweet spots to build their brand, monetize, and grow a deeper fan base.

Inside The Music 4.5 Seminar Series

When I started the Music 4.5 seminar series, set to mingle music with tech, I dove headfirst into a world of vibrant start‑ups—like Songkick, Pledgemusic, and Music Glue in London, and the fresh Stagelink out in Berlin. These teams tapped into a craving for live gigs and interactive experiences.

Co‑Creation: The New Music‑On‑Demand Relationship

Fans now get to co‑create before an album drops or a gig happens. Think Imogen Heap, Mumford & Sons, or Amanda Palmer—artists who let their audience shape the journey. This wasn’t possible without disruptive tech that connects listeners, lovers, and the creative who want to push the boundaries of the CD or live show.

London’s Emerging Tech Hubs

A flurry of new players is sprouting around Silicon Roundabout and Tileyard Studios. They’re shaking the old media giants, riding the cracks in the rigid industry architecture, and chasing what truly engages audiences and what they’re ready to pay for.

Don’t Forget the Crown Jewel: Content

Technology is cool, but content is still king. You can have a shiny platform, but without the right music or story, no one’s buying.

Niche Communities That Beat the Long‑Tail Hype

During last year’s “Smart Radio or Dumb Audio” seminar, I met Lorin Cutts from the Global Radio Alliance—an internet radio network dedicated to UFOs. Despite the odd niche, they’re in the top five of Live 365 and pull half a million page views each month.

When Big Sights Meet Small Bets

Production companies like TBI Media and Snappin’ Turtle teamed up with the BBC to turn the Dambusters raid into a multi‑platform spectacle—radio, TV, and a live concert featuring 150 musicians and the Military Wives Choir. By tapping a mature audience, they not only sold out but proved the power of blending old war stories with modern media.

Old Advertising Models Are Getting Balm‑around‑the‑Head

Traditional ad agencies—once kings of brand, content, and communications—are losing their crown. Now, savvy production companies take the lead, bringing business models that fund productions via sponsorships and multi‑channel deals. The music industry is sidelined, and tech lets artists and fans go straight to each other.

“Content is King, Context is God”

Will Clark, founder of Superstar VJ, reminds us that the delivery context—how, where, and why content is shared—can be the difference between a hit and a flop. It’s not just about content marketing; it’s about context marketing. We’re only scratching the surface of this consumer‑led revolution, and the ripples will only grow.

Meet Rassami Hök Ljungberg

She’s the co‑founder and content director of 2Pears, building events and networks for creatives in tech, music, and media. Passionate about spotlighting new startups and entrepreneurs, she thrives on connecting people and gathering fresh ideas.