The World Bank predicted a slowdown in the global economy for the third consecutive year in 2024, making a recession likely.
A global recession can cause higher unemployment, poverty, rising prices, reduced profits, and business defaults.
Taylor Swift’s Eras Tour is the highest-grossing music tour in history, surpassing $1 billion in ticket sales.
The tour also generated an additional $250 million from a concert film and $200 million in merchandise sales.
The multiplier effect refers to how spending in one area (like a concert) can create amplified economic benefits across different sectors.
Other artists like Coldplay and BTS have had similar impacts, but Swift’s tour is on an unprecedented scale.
Singapore paid $18 million for exclusive hosting rights in Southeast Asia.
Swift’s concerts in March 2024 caused:
275% increase in tourism-related bookings.
186% increase in inbound flights.
462% increase in hotel bookings.
An estimated SG$300–$400 million (US$222–$296 million) GDP boost in Q1 2024.
This mirrors her US impact, where the tour contributed an estimated $5 billion to the economy.
Singapore’s strategic use of a celebrity event is an example of expansionary fiscal policy.
Unlike traditional fiscal policies (like tax cuts or government spending), this approach provided immediate economic benefits.
Countries can use entertainment industry investments to drive tourism and economic recovery.
The global market for creative industries more than doubled from $208 billion (2002) to $509 billion (2015) (UNCTAD, 2018).
The UN General Assembly declared 2021 the International Year of Creative Economy for Sustainable Development, emphasizing its role in economic growth and cultural diversity.
Indonesia was a key supporter of this initiative, highlighting the ASEAN region’s growing creative economy.
Rainych Ran, an Indonesian YouTuber, became globally recognized for covering Japanese songs and Doja Cat’s “Say So” in Japanese.
Her viral success led to collaborations with Sony Music Japan and top producers, showing the power of cross-border music exchanges.
The resurgence of Japanese “City Pop” (1970s-80s genre) was partly driven by her viral covers, showing how digital platforms revive older music.
YouTube and social media allowed Rainych, a self-taught singer from a small town, to gain international recognition.
The blurring of lines between creators and consumers is called “prosumption” (a mix of production and consumption).
Music lovers now contribute to music culture by creating and sharing covers, remixes, and original works.
Traditional globalization was unidirectional (e.g., Japan exporting anime/manga to Indonesia).
Now, music flows are multidirectional:
Rainych’s journey involved Japanese, American, and Indonesian cultures.
Social media platforms enable global collaboration and hybridization of music styles.
Music fosters cultural exchange and understanding beyond political influence.
Japanese audiences became interested in Rainych’s background, Riau Province, Sumatra Island, and her Islamic faith.
The creative economy helps promote cultural diversity and mutual appreciation.
Rainych’s rise happened during the COVID-19 pandemic, proving digital music’s resilience.
While live performances suffered, online music consumption increased.
The “digital divide” remains a challenge, as smaller music venues and independent artists struggle.
The creative economy drives both economic growth and cultural exchange.
The rise of digital platforms allows artists from any background to reach global audiences.
Music globalization is now an interactive, multidirectional process, reshaping cultural connections worldwide.
Beyoncé's "TEXAS HOLD 'EM" exemplifies pop artists embracing country music, but a similar trend is happening with Regional Mexican music.
Mexican music, once overshadowed by reggaeton and dembow, is now seeing a global revival through collaborations and genre-blending.
Snoop Dogg x Banda MS: A fusion of hip-hop and banda in "Que Maldición".
Bad Bunny & Karol G: Experimenting with Mexican corridos and cumbia, blending Latin urban music with traditional Mexican sounds.
Peso Pluma: His requinto-driven corridos are streamed at levels comparable to Taylor Swift, showing the genre’s broad appeal.
Mexican culture has been deeply ingrained in the Americas:
Telenovelas, Las Mañanitas at birthdays, and Amor Eterno at funerals.
American country music has long borrowed from Mexican corridos:
Merle Haggard, Tim McGraw, Carrie Underwood all have songs about Mexico, often romanticizing love and escape across the border.
Like American country music, Regional Mexican grew polished and commercialized, but young artists are reviving its raw, traditional roots.
The requinto (intricate guitar fingerpicking) is making a comeback, adding depth and melancholy to modern corridos.
Octavio Paz argued that Mexican music uniquely captures sorrow—a country orphaned by its state finds solace in booze, death, and song.
Today’s world—plagued by war, climate change, and uncertainty—is turning to Mexican music as a way to process pain.
Yahritza y Su Esencia expresses heartbreak and vulnerability, showing how the genre resonates beyond Mexico.
Regional Mexican music is no longer confined to Mexico—it's becoming a global voice for emotions, struggles, and resilience.
Just as country music once romanticized Mexico as an escape, the world is now looking to Mexican music for meaning and authenticity.
This renaissance proves that music transcends borders, shaping and reflecting the human experience worldwide.
The U.S. has launched a Global Music Diplomacy Initiative, using music as a tool for international engagement. With Secretary of State Antony Blinken strumming his way through diplomacy, the U.S. is reinforcing its global influence through cultural exchange. Should Australia follow suit?
Music has long been a tool for soft power—from Cold War-era jazz ambassadors to Eurovision’s role in European unity and K-pop’s meteoric rise boosting South Korea’s global image. The U.S. initiative seeks to strengthen ties through mentorships, international exchanges, and performance sponsorships. Australia, which already has Sounds Australia and the Australian Cultural Diplomacy Grants Program, has the infrastructure to amplify its own music diplomacy efforts.
Despite global successes like Tame Impala, The Kid Laroi, and Amyl and the Sniffers, the Australian music industry is struggling post-pandemic. Rising costs, competition from streaming giants, and a lack of international visibility pose challenges. Critics like Azealia Banks have called the Australian music scene "culturally stale," though such claims overlook the country’s rich and diverse talent.
A stronger music diplomacy program could:
Boost Australia's cultural branding internationally.
Strengthen business ties in a music industry projected to hit US$131 billion by 2030.
Expand live music exports, tapping into Asia-Pacific markets like South Korea, Japan, and Indonesia.
Enhance Australia’s Indo-Pacific strategy by fostering cultural and diplomatic ties.
With Prime Minister Anthony Albanese’s well-known love of music—crate digging with Budjerah, record-swapping with Jacinda Ardern, and DJing at events—there’s a unique opportunity to push music diplomacy further. Australia could:
Expand the Australian Music Industry Trade Mission into key Indo-Pacific markets.
Increase funding for international artist collaborations and showcases.
Leverage streaming platforms and social media for global audience engagement.
Integrate music diplomacy with existing cultural and trade strategies.
As the U.S. amplifies its efforts, Australia has the chance to turn up the volume on music diplomacy. Given the Albanese government’s cultural focus, now is the perfect time for a strategic push. So, will we see DJ Albo drop a beat to launch Australia’s next big soft power move?
Afrobeats has officially taken center stage. Burna Boy’s historic Grammy Awards performance alongside Brandy and 21 Savage marked a new era for the genre, solidifying its place in the global music industry. And with the Best African Music Performance category debuting at this year’s Grammys, it’s clear that African music is no longer just a niche—it’s a movement.
The rise of Afrobeats and K-pop has driven a 26.2% increase in global music streaming, according to Luminate Data’s 2023 report. This surge has pushed African artists beyond fleeting collaborations with Western stars—they are now dominating global charts on their own terms.
Wizkid & Tems’ “Essence” (2021) became a cultural anthem, proving that African artists no longer need a Western co-sign to break into the U.S. market.
Burna Boy made history as the first African artist to sell out a U.S. stadium in 2023.
Tyla’s “Water” won the first-ever African Music Performance Grammy, blending amapiano with global pop influences.
According to Ayra Starr, one of the first Grammy nominees in the African Music Performance category, the genre’s staying power lies in its fusion of sounds. African artists effortlessly blend traditional drum patterns, R&B, hip-hop, amapiano, and pop, creating music that resonates with both African and global audiences.
Mamo, a hip-hop and R&B journalist at Billboard, echoes this sentiment:
“African artists are impacting the U.S. in ways they never have before.”
Afrobeats is also transforming Africa’s global image. For years, the continent was often associated with poverty and political instability in Western media. Now, the explosion of African music is reshaping perceptions, showcasing Africa’s rich culture, talent, and influence.
However, despite its success, the Grammy category only featured artists from three of Africa’s 54 countries. Critics argue that one category is not enough to represent Africa’s musical diversity, which includes Afropop, Afrofusion, alté, kizomba, Ethio-jazz, Ghanaian drill, and more.
With Africa’s young, thriving population, the genre is set to continue evolving and expanding. The future may even bring an African Grammys, much like the Latin Grammys, to truly honor the continent’s musical diversity.
As Ayra Starr puts it:
“The more we collaborate and work together, we’re going to bring up different sounds… Afrobeats is going to be bigger than any other genre in the world.”
Movements aren’t built on single actions, yet "Despacito" has become a defining moment for Latin music. Since its release in 2017, Luis Fonsi and Daddy Yankee's global hit—bolstered by Justin Bieber’s remix—reshaped the industry's perception of Spanish-language music.
The song’s success was unprecedented:
16 weeks at No. 1 on the Billboard Hot 100, tying the record at the time.
Broke records for the most weeks at No. 1 on Hot Latin Songs.
Became the most-viewed music video on YouTube (until “Baby Shark” dethroned it).
But beyond the accolades, “Despacito” changed Latin music forever.
Before 2017, Spanish-language songs rarely appeared on the Billboard Hot 100. That changed dramatically post-“Despacito”:
2016: 4 Spanish-language songs made the chart.
2017 (Despacito’s year): 19 tracks entered, including J Balvin’s “Mi Gente.”
2020: The number surged to 41, thanks to artists like Bad Bunny.
Before “Despacito,” Latin acts had to chase mainstream collaborations. After its success, the roles reversed—now, global superstars seek out Latin artists.
Beyoncé jumped on J Balvin and Willy William’s “Mi Gente.”
Cardi B, Bad Bunny, and J Balvin created the massive hit "I Like It."
Maluma & The Weeknd, Ozuna, Cardi B & Selena Gomez, and Katy Perry & Daddy Yankee followed the trend.
Years ago, labels were hesitant about pop stars releasing Spanish-language albums, fearing accusations of cultural appropriation. Today, it’s celebrated.
Selena Gomez, Camila Cabello, and Christina Aguilera have all embraced Spanish-language projects since.
Before “Despacito,” Spanish songs struggled for airplay on U.S. pop radio. When programmers initially rejected the track for being “too Spanish,” Scooter Braun refused to alter it.
The result? A breakthrough moment that changed the landscape of Top 40 radio.
Today, Spanish songs are a crucial part of mainstream playlists.
Streaming globalization allowed “Despacito” to showcase the universal appeal of Latin music. Today, Spanish-language music is the second-most consumed globally—and “Despacito” was the tipping point.
Even Luis Fonsi acknowledges its impact:
“It opened a huge door for the non-Latin world to embrace Latin music. It spearheaded a global movement.”
From chart dominance to cultural shifts, “Despacito” wasn’t just a hit—it was a revolution. 🎶
4o
On a humid summer day in New Jersey, thousands of fans sing along to Korean lyrics they don’t understand. KCON, an annual convention celebrating Korean pop culture, has grown from a small 2012 gathering to a 125,000-strong spectacle. The event reflects the meteoric rise of K-pop—a genre that has transformed from a niche interest into a $5 billion global industry.
The defining moment came on October 6, 2018, when BTS became the first Korean group to headline a U.S. stadium, selling out Citi Field in minutes. Their success, along with artists like Blackpink and Super Junior, signals that K-pop’s dominance in the West is no longer a question—it's a reality.
K-pop first cracked the U.S. in 2012 when Psy’s “Gangnam Style” became the first video to surpass 1 billion views on YouTube. But most K-pop fans dismiss it as a gimmick—an outlier that didn’t truly represent the genre.
Unlike previous acts that forced English-language versions of their songs, BTS broke through while staying true to their Korean identity. Hits like “Fake Love” and “Boy With Luv” soared up the Billboard Hot 100—without needing translations. Their album Love Yourself: Tear debuted at No. 1 on the Billboard 200, proving that language was no longer a barrier.
K-pop isn’t just about the songs—it’s an immersive, multi-sensory experience.
High-energy performances rivaling Broadway productions.
Elaborate storytelling through intricate music videos with plot twists, time travel, and symbolism.
A deep connection between artists and fans, built through social media and interactive content.
This formula creates a fandom that’s not just passionate but deeply invested. Online communities like Soompi (22 million users) translate lyrics, analyze videos, and even learn Korean to better understand their favorite groups.
K-pop isn’t limited to one sound. It fuses R&B, hip-hop, EDM, and Latin music, keeping fans engaged with fresh styles. This genre-fluid approach has drawn interest from mainstream Western artists:
BTS teamed up with The Chainsmokers, Steve Aoki, and Halsey.
Blackpink collaborated with Lady Gaga and Selena Gomez.
Super Junior merged K-pop and Latin music with “Lo Siento.”
Streaming has allowed fans to drive K-pop’s success. BTS’ ARMY, Blackpink’s BLINKs, and other fandoms actively promote music online, breaking YouTube and Spotify records.
As DJ Steve Aoki puts it:
“With streaming, fans now have such a large voice. BTS became a phenomenon because the fans made it happen—like the underground punk and hardcore movements.”
Despite massive global success, U.S. radio still hesitates to fully embrace K-pop—largely because most songs aren’t in English. But with the precedent set by "Despacito," which became a diamond-certified hit, programmers are reconsidering:
“If ‘Despacito’ can dominate the charts, why not K-pop?” says radio executive Phil Becker.
As the world becomes more connected, K-pop’s influence will only grow—not just in the U.S., but globally. With unstoppable fandoms, record-breaking hits, and mainstream collaborations, K-pop isn’t just a trend—it’s the future of global pop music. 🎶