For many contemporary artists, the main goal is no longer just charting success, but achieving viral popularity. A song that becomes a hit on TikTok or YouTube Shorts can propel an unknown musician to millions of streams, sold-out concerts, and even major label contracts.
However, as governments worldwide introduce stricter rules regarding children's access to social media, the industry is beginning to ask a new question: what happens if artists have to lose access to a segment of their audience they relied upon?
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New Policy in the UAE
These discussions arose against the backdrop of the UAE announcing plans to ban children under 15 from using social media. This measure aims to enhance online safety for children. Although the policy is designed with young users in mind, industry experts note that it raises broader questions about how artists achieve success, how songs become hits, and how concerts are promoted in an increasingly digital world.
The Role of Short-Form Video Platforms
For many years, short-form video platforms have served as a launchpad for new music. Viral dance trends, comedy sketches, and cinematic clips helped lesser-known performers attract the attention of millions of listeners, often before their compositions reached streaming charts.
Artem Shargin, co-founder and COO of the independent music label 0to8 based in the UAE, noted: 'This shift has been fundamental. Today, a teenager lives in a constant stream of videos. They watch clips on TikTok and YouTube Shorts, and then send those same clips to friends on Discord or in group chats. Music travels with the video.'
According to him, recommendation algorithms have become the primary source of music discovery for many young listeners, as radio stations and editorial playlists increasingly amplify songs that have already gained traction online. Furthermore, music discovery has become more interactive, as users themselves contribute to the popularity of tracks through their content.
He cited 0to8 artist, udiennx, whose track 'Vision' gained popularity after automotive enthusiasts began using it in cinematic videos featuring Porsche and Mercedes-AMG cars. Shargin explained: 'Across thousands of videos, the song became part of the car community's identity. Porsche noticed and used this track in its own campaign. Today, Udiennx has nearly seven million monthly listeners on Spotify.'
Audience Adapts to Changes
Despite concerns over tightening regulations, Shargin does not believe that the youth audience will simply disappear from the online space. He stated: 'I don't actually expect young audiences to spend less time online. Audiences are like energy—they never disappear, they change form. If access to one platform is restricted, teenagers move to the next channel, and artists follow them.'
Instead of relying on a single platform, he believes that artists and labels need to diversify their marketing strategies and strengthen direct connections with fans through streaming services, messengers, and content creator communities. He added: 'I don't expect short-form content to vanish. The artists who remain will be those whose music people want to share. Platforms change; that instinct remains.'
He also cautioned against viewing virality as the ultimate goal. In his opinion, 'the viral moment is often the fastest way for an unknown artist to be discovered. The real work is turning that attention into loyal listeners and a community that remains after the trend fades.'
Impact on Live Performances
The impact may extend beyond music discovery, affecting the live entertainment business. Ivan Kosmin, CEO of Platinumlist, noted that social media plays a vital role in building hype around concerts and festivals, but it is not necessarily what convinces people to buy tickets.
He emphasized: 'Social media is excellent at the top of the sales funnel. It creates the moment and the feeling that an event is happening.' However, Platinumlist data shows that about 40 percent of users learn about events from friends, not through social media algorithms. Ivan concluded: 'Word-of-mouth still beats the feed.'
Rather than viewing regulation as a threat, Ivan believes it should prompt organizers to rethink how they engage with audiences. He stated: 'Regulation is a legitimate step in child safety, and the industry's task is to adapt responsibly to it.' He argues that organizers should invest more in direct communication channels, such as apps, email newsletters, membership programs, and subscription notifications, instead of relying almost entirely on third-party platforms. According to him, 'this rethinking has long been overdue. It brings the industry back to owning the relationship with the audience directly.'
Demand for Live Music Will Persist
Ivan does not anticipate a decline in concert demand, even if social media habits change. He believes that 'the appetite of youth to be in one room with their favorite artist, with their friends, is something that doesn't weaken with changes in marketing channels. Only the path to the ticket changes, not the desire to get it.'
He posits that the platforms with direct relationships with the audience will prevail, not those dependent on constantly changing algorithms. 'Those who communicate directly with their fans will thrive.'
While governments continue to discuss online safety issues, the music industry is forced to adapt once again. But, as experts agree, despite the evolution of platforms and changing rules, the human desire to discover new music and experience it live is unlikely to disappear; it will simply find a new path.
