Although paid streaming subscriptions have continued to grow at a steady rate, the far more rapid decline of paid downloads, along with CD sales suggests that streaming services need to grow their paying subscriber base at an even greater rate.
It’s the question plaguing record companies across the globe: in the slow-moving world of streaming popularity, what’s the best strategy for a label to get its new artists noticed? President of Atlantic Records UK Ben Cook acknowledges that, in many respects, breaking an act in 2016 is harder than its ever been.
The headline from Edison Research’s third quarter 2016 Share of Ear study is a familiar refrain—broadcast radio remains far out in front of a growing field of audio entertainment sources. Americans spent 50% of their audio time with AM/FM radio in Q3. A more surprising finding from the quarterly study: YouTube has surpassed Pandora as the top streaming audio service.
Revelator CEO Bruno Guez explores how the latest evolution of data driven niche marketing by companies such as Netflix could be applied in different ways to the music industry, particularly as music streaming occupies an increasingly large segment of the market.
SoundExchange paid out $263.5 million in royalties during third-quarter 2016. The figure represents a mammoth increase of 29.2% from the same period in 2015, when the digital performance rights organization dispersed $204 million. The organization has issued year-to-date payments of $666.9 million.
The launch uses a chunk of the firm’s 2016 $1bn investment raise to differentiate itself from the competition.
The campaign will roll out in the US, UK, France and Denmark until December 31st, and then to a further 10 markets (Argentina, Australia, Brazil, Canada, Germany, Indonesia, Mexico, New Zealand, the Philippines and Sweden.)
If you're curious which social media platform is the best one to target fans on, it looks as though the popular photosharing app Instagram may be your best bet, as a new study reveals its users are more likely to engage with and spend money on music.
The recent ruling by the U.S. Department of Justice in United States v. Broadcast Music, Inc. and United States v. American Society of Composers, Authors and Publishers has left many songwriters, publishers, motion picture and television producers and, yes, even lawyers scratching their heads to understand the import of the ruling. Not to mention Texas Governor Greg Abbott who has written to Attorney General Loretta Lynch asking her to reconsider the DOJ ruling.
The radio industry’s battle with Global Music Rights may have more at stake than simply what stations are required to pay the upstart performance rights organization. It could also cast a shadow over the industry’s current round of negotiations with ASCAP, BMI and SESAC—all of which have seen their rates reduced in recent years.
Amazon seems set to ramp up its operations in the ticketing space, given a series of job ads spotted by Recode, one of which said the new appointments were part of an effort to “position Amazon Tickets as the world’s premier destination for purchasing tickets”.
Many in the music community have argued that the Obama administration has a too cozy relationship with tech, particularly Google. Could a Trump team be better for the music industry and the creative community? David Israelite who helms the National Music Publisher's Association hopes so, and laid out a wish list in a letter to the president-elect.
RMLC, the organization that represents most commercial radio stations in the US in negotiating music license agreements for the public performance of musical compositions, has filed an antitrust lawsuit against GMR (Global Music Rights). GMR is a new performing rights organization (PRO), founded by music industry heavyweight Irving Azoff. RMLC (the Radio Music License Committee) is asking in its lawsuit that, initially, GMR be enjoined from licensing its catalog of songs for more than a rate that represents the pro rata share of its catalog to those of the other PROs while its broader antitrust action is litigated to establish an appropriate mechanism for determining those rates in the future.
In the early days of Facebook, it was an excellent resource for artists looking to market themselves to followers, but as advertising was introduced and the platform became increasingly crowded, it became harder for artists to get their content seen. Here Ronan Mason tests just how bad it's become.
The goal of many a songwriter is to find artists to sing our material. And there are few things more thrilling than when you hear your music come to life. The first time you get to hear an artist’s take on a song you spent hours on, all alone in your writing room, is truly magical. The feeling exists somewhere in between hearing a very personal cover, and the ephemeral act of co-writing or collaborating with someone.
While the rise of "playlist culture" has made song discovery that much easier, it has also made it much more challenging for labels to break new artists, stifling artist development and changing the business from artist driven to song driven.
In an era where CD sales have been replaced with a paltry streaming royalties, artists looking to make a living off of their music career must find other, alternative methods of earning money from their music.
With the New Year just around the corner, it’s likely time to renew your music licensing agreements. But this industry is under some major changes that could impact all businesses. Music licensing is a dense topic. Some businesses attempt to avoid paying license fees. But the threat of expensive fines is all too real. New technology is helping businesses negotiate fairer fees and more songwriters get paid. It’s time to take a second look at this industry.
The chief executive of SoundExchange, the collections agent for streaming royalties, thinks the music industry is closer than ever to winning a performance royalty from AM/FM radio. Until then Michael Huppe says in an interview he believes it is a “travesty” that American broadcasters don’t currently pay for airplay.
As live music tech continues to develop and reshape the music industry, it becomes increasingly important for artists to stay ahead of the curve and tuned into how these new trends can be utilized to impress fans and increase profits.
The proliferation of HD Radio-compatible receivers in vehicles continues as digital radio developer DTS announced that 34 new model year 2017 cars will feature HD Radio receivers, including 14 arriving in 2016. The rollout marks “the continued growth in consumer demand for digital radio services across North America,” says Jeff Jury, general manager, HD Radio and automotive, DTS.
The Department of Justice has filed its appeal to a September ruling by U.S. District Court Judge Louis Stanton who concluded the DOJ overstepped its authority when it ordered ASCAP and BMI to comply with a new 100% “full work” licensing requirement. The DOJ now has two weeks to detail why it believes the appeals court should reverse the lower court ruling.
Country radio has long been a powerful force to be reckoned with in world of broadcast and music in general, but some of those numbers seem to be changing as radio listenership in general declines and the popularity of streaming continues to grow.
Spotify users are falling prey to a major bug in its desktop application across multiple platforms that is leaving 10-700 gigabytes and more of junk data every hour on unsuspecting user's hard drives.
As a musician, you will hopefully reach a point in your career when you need to have a manager. To answer the challenging question of when that point is, as well as how to go about actually finding one once you're there, we here from Nashville-based CONNECT manager Daren.