Jacob Byrnes, director of creator relations and content strategy for the music strategy and tactics team at Universal Music Group, spends a good chunk of his day scrolling through TikTok. Last fall, he noticed a marked shift in the type of videos appearing on his For You page: “It all turned into screen captures of people playing productions they made on BandLab,” he says.
BandLab provides its 60 million-plus registered users, 40% of whom are women, with music-making software that includes an arsenal of virtual instruments, as well as the ability to automatically generate multipart vocal harmonies, record, sample and manipulate sound in myriad ways. It’s a toolbox that allows them to create professional-sounding recordings on their phones with surprising ease, transforming every civilian into a potential hit-maker. BandLab can also distribute music to streaming services, and it incorporates components of a social network: Musicians can create individual profiles, chat with one another, comment on their peers’ releases, solicit advice or break up a song into its component pieces and share those to crowdsource remixes.
The free app launched in 2016, but it has become almost inescapable over the last 12 months: 200 million videos tagged with #bandlab appeared on TikTok in April. The music industry has taken note of the ease with which users can make songs — “Labels love BandLab because it allows artists to create music for very cheap,” says one music attorney — and the velocity that some songs have picked up on streaming platforms. “There are random kids on there generating streams like crazy,” says Nima Nasseri, vp of A&R strategy at UMG. “Their monthly listeners are going from zero into the millions, and they’re doing it all from the palm of their hand.”
“It’s like other segments of the [music] internet that explode — one artist [broke] and now you’re seeing a ton of them go,” adds Jordan Weller, head of artist and investor relations at indify, a platform that helps independent acts find investors. “That’s what makes it attractive for the community. Now all of these other kids recognize that they can build careers off of BandLab — that it’s a potential pathway.”
The artists wielding BandLab are not stuck in one mode — Diego Gonzalez and d4vd enjoyed success with lovelorn ballads; Luh Tyler makes slippery, bass-heavy hip-hop; thekid.ACE favors breezy guitars; ThxSoMch trafficks in shades of post-punk. Several have landed record deals — Gonzalez with Island, d4vd with Darkroom/Interscope, Tyler with Motion Music/Atlantic, ThxSoMch with Elektra and thekid.ACE with APG — while d4vd and ThxSoMch have also landed on Billboard’s charts. (All are teenagers except ThxSoMch, an elder statesman of sorts at 21.) Other acts like SSJ Twiin and kurffew have picked up more than 15 million Spotify plays apiece while remaining independent.
Even BandLab’s CEO is surprised by this wave of breakthroughs. Meng Ru Kuok says he always hoped to have an artist chart with a song made on his platform, but “the fact that it already happened last year with d4vd” — whose “Romantic Homicide” peaked at No. 33 on the Billboard Hot 100 — “was ahead of schedule.”
When Meng co-founded BandLab, he wanted to capitalize on the technological shift “from a desktop ecosystem to a mobile one”; phones represented “a musical instrument in everybody’s pocket.” He also aimed to open up audio tools to the large swath of the global population that couldn’t afford iPhones, which came with another digital audio workstation, GarageBand. BandLab makes money by taking a cut for artist services like distribution and promotion.
Artists who favor BandLab say it is remarkably frictionless to cut a vocal and smear it with effects or whip up a loop. It also has an artificial intelligence-powered SongStarter function that can automatically generate musical ideas based on a few inputs, though none of the artists who spoke for this story use it. BandLab “is easier than GarageBand; everything is in front of your face,” says keltiey, whose racing, helium-addled “Need” has over 14 million streams on Spotify.
“The more convenient you make something, the more it is going to be adapted,” says Mike Caren, founder of the publisher and independent label APG and a producer. “I used to buy full recording studios for people — Pro Tools, interfaces, [$20,000] packages of equipment.” In contrast, BandLab is free and portable. “I encourage my artists to use the platform as a way to get down spontaneous vocal ideas,” Caren says. He thinks most artists still don’t fully understand how many different tools are available within BandLab’s suite of tech; Meng says that over 40% of users work with more than two “core creation features,” but he hopes to boost that number to 99%.
When he’s not playing Fortnite with more than a dozen fellow BandLab users, thekid.ACE generally records on his bed. The same goes for Tyler, who says the ability to cut vocals in solitude was part of BandLab’s initial attraction: “I used to be nervous to rap in front of people; I just wanted to be by myself.” ThxSoMch recorded the vocals for “Spit in My Face!” in his bathroom, according to a video he posted on TikTok, while keltiey prefers to use the closet. “Her clothes would be all around,” says Velencia Wallace, keltiey’s mother and manager. “She almost had a fort.”
Young artists who get used to working quickly on BandLab in the comfort of their homes may find it hard to kick the habit, even once they have access to professional recording studios. “As the artists become more prominent, the labels want to wean them off BandLab — they want them to actually go into the studio and work with legitimate producers,” the music attorney says. “But the kids don’t want to; they want to stick to BandLab. I’ve seen situations where kids turn down big session opportunities with prominent writers and producers in favor of just doing their thing on BandLab.”
Tyler uses a studio, but says that “if I haven’t been there in a minute, I’ll just record a song on BandLab. I don’t like writing, so I’ll just do it on there and rerecord it.”
Not everyone in the music industry is sold on BandLab. One senior executive, who requested anonymity to speak frankly, was impressed with the tech. “Kids have never sounded this good at home,” he says. But so far, he continues, artists using BandLab haven’t become recognizable stars. While some of the songs stream, he notes, the acts behind them remain “faceless.” (This criticism is common in the streaming era.) In addition, the executive points out that posting BandLab sessions on TikTok has become so common that it might reach a point of oversaturation and lose steam, like previous trends before it.
Meng acknowledges there are doubters who think “this a fad.” But he’s quick to offer a rebuttal. “There are billions of people around the world who don’t have access to music-making on their mobile devices,” he says, warming to his theme. “We’re just starting to scratch the surface. There’s a lot more to come.”
