We’ve written regularly in the last year about the shift in definitions of ‘exclusives’ on music-streaming services. Bar the odd exception, few albums are now exclusive to a single service, but Apple Music, Spotify and others are competing instead for exclusive access to artists in other ways: documentaries for example, or live events. The latest example of the latter is Arcade Fire, who will be celebrating the release of their fifth album ‘Everything Now’ next Friday with a free gig in Brooklyn the night before. It’ll be exclusively livestreamed on Apple Music, with an audio broadcast on Beats 1 to boot: Of relevance here: Arcade Fire’s Win Butler and Régine Chassagne appeared on-stage at Tidal’s infamous relaunch event, billed as co-owners of that service in March 2015. Just over two years on, and the big launch event for their new album is only on Tidal’s much-bigger rival Apple Music. Oof. Perhaps this shouldn’t be a surprise: Butler did say a few months after the Tidal event that “none of the artists knew anything about the PR. It was a poorly managed launch”. Something tells us the Apple livestream won’t be open to similar accusations.
Cette tribune a été écrite par Daniel Findikian ( @findikian ), expert dans la transformation digitale de l’industrie musicale, directeur de l’école EMIC Paris et ancien Directeur Digital de EMI Music. Dans un marché de la musique en pleine renaissance, où le streaming marque une croissance de l’ordre de +30 à +50% dans l’ensemble des territoires majeurs du marché de la musique, l’enceinte connectée d’Amazon va faire rentrer le modèle du streaming dans une nouvelle ère. J’explique depuis plus de 4 ans à mes étudiants que le streaming transforme définitivement le marché de la musique. Tout d’abord, il change le support – l’album est remplacé par la playlist. Il modifie le marketing – il s’agit désormais de promouvoir un titre dans un environnement différent avec une logique d’audience. Enfin, il transforme le modèle économique – d’une transaction à une logique d’abonnement. Un nouveau changement vient d’arriver, c’est une enceinte connectée signée Amazon. Elle s’appelle Echo et elle intègre déjà un abonnement streaming illimité. L’arrivée, fin Octobre 2016, d’Amazon sur le marché du streaming musical, en concurrence frontale avec Spotify, Apple Music, Google Play, Deezer, Tidal ou encore SoundCloud est passée relativement inaperçue en France et pourtant c’est un « […]
Sprint has announced that it has forged a deal for 33 percent ownership of music streaming service Tidal, and as part of the deal, Sprint customers will receive “exclusive artist content” not available anywhere else.
The MBW Review gives our take on some of the music biz’s biggest recent goings-on. This time, we look at Apple’s ridiculous mountain of money, while ponder what it might splash it on. The MBW Review is supported by FUGA . Apple has enough spare money to buy the entire music business. Just like that. According to its latest financial results, Apple Inc currently has a fictional-sounding cash position of $246.1bn – 94% of which ($231.3bn) is held outside the US. Judging by market caps and public valuations, Apple could snap up Vivendi ( $23bn ), Sony Corp ( $38bn ), ,
( $6bn ), Pandora ( $3bn ) and Spotify ( $8bn ) for less than a third of its current savings – and still leave change on the table. One of the few companies Apple couldn’t hypothetically afford for that kind of money is… Apple, whose current market cap ( $624bn ) makes it worth approximately 7,700% more than Daniel Ek’s IPO-chasing green machine, Spotify. So what’s Tim Cook going to do with this mountain of money? That’s a less important question right now than what he’s willing to do with it – especially in the […]
One of the key part of AMRA’s pitch to companies like ole is its claim to be able to account 8-12 months faster by collecting directly from global services like Apple Music and Spotify.
Kobalt-owned global digital collecting society AMRA has announced its latest deal: with independent music rights management company ole. The partnership will see AMRA licensing the performing and mechanical rights for certain ole catalogues to digital music services. The deal isn’t quite “global” – it doesn’t include North America and some individual countries – but it’s wide-ranging nonetheless, with AMRA having digital licensing agreements in place with more than 20 digital music services so far. “ole is one of the most innovative music companies out there with a very strong client roster that will now be able to benefit from AMRA’s new centralised collections model,” said AMRA CEO Tomas Ericsson in a statement. “ole is a technology-driven company that matches our values on transparency, accuracy and speed of accounting.” For its part, ole’s SVP of finance and administration Chris Giansante hailed the deal: “Working alongside Tomas and his team, we’re confident that ole’s global collections will increase, benefitting our stakeholders in 2017 and beyond.” The deal comes at a busy time for ole. The Toronto-based company announced in September 2016 that it had spent $520m on acquisitions, while securing a new $500m credit facility to continue its buyout blitz. That […]
Tencent Holdings is China’s largest company – with an imperious market cap valuation of more than $250bn . It also happens to be the world’s third-biggest music subscription business – one which poses a serious threat to the global ambitions of Spotify and Apple Music . Last year, Tencent spent big to acquire a majority stake in $2.7bn -valued China Music Corp, taking control of two key music platforms – Kuwo and KuGou . Added together with its own QQ Music , which boasts 200m monthly active users, Tencent now services over 15m paying music subscribers – with an estimated digital music market-share in China of over 77% . And get this: unlike Spotify , Deezer , TIDAL , Pandora and pretty much any other standalone music streaming service in existence, QQ Music is consistently profitable (just like its parent company). Tencent is in an especially strong position, because bright people are expecting very big things from its home nation. Universal’s SVP Jonathan Dworkin predicted this week said that China could become the largest recorded music market in the world over the next decade – surpassing the USA, Japan, the UK and Germany. Right now, with a population of […]
The last time we did this was back in 2014 , so we thought it was time for an update. Not a lot of surprises but as we predicted when streaming numbers grow, the per stream rate will drop. This data set is isolated to the calendar year 2016 and represents an indie label with an approximately 150 album catalog generating over 115m streams. That’s a pretty good sample size. All rates are gross before distribution fees. Spotify was paying .00521 back in 2014, two years later the aggregate net average per play has dropped to .00437 a reduction of 16%. YouTube now has their licensed, subscription service (formerly YouTube Red?) represented in these numbers as opposed to the Artist Channel and Content ID numbers we used last time. Just looking at the new YouTube subscription service numbers isolated here, they generate over 21% of all licensed audio streams, but less than 4% of revenue! By comparison Apple Music generates 7% of all streams and 13% of revenue. Speaking of Apple, they sit in the sweet spot generating the second largest amount of streaming revenue with a per stream rate .00735, nearly double what Spotify is paying. But, Spotify […]
In streaming’s earlier years, when doubts prevailed across the artist, songwriter and label communities, one of the arguments put forward by enthusiasts was that when streaming reached scale everything would make sense. When asked what ‘scale’ meant, the common reply was ‘100 million subscribers’. In December, the streaming market finally hit and passed that milestone, notching up 100.4 million subscribers by the stroke of midnight on the 31 st December. It was an impressive end to an impressive year for streaming, but does it mark a change in the music industry, a fundamental change in the way in which streaming works for the music industry’s numerous stakeholders? Streaming Has Piqued Investors’ Interest The streaming market was always going to hit the 100 million subscriber mark sometime around now, but by closing out the year with the milestone it was ahead of schedule. This was not however entirely surprising as the previous 12 months had witnessed a succession of achievements and new records. Not least of which was the major labels registering a 10% growth in overall revenue in Q2, driven by a 52% increase in streaming revenue. This, coupled with Spotify and Apple’s continual out doing of each other […]
People paying for the likes of Spotify and Apple Music played more music streams in the US last year than users of YouTube – in a dramatic market reversal. That’s according to the latest stats from trusted market monitor BuzzAngle – whose stats show that digital video music streams grew by just 7.5% in the year. By contrast, audio on-demand services saw streams on their platforms grow by a whopping 82.6% – from 137.29bn in 2015 to 250.73bn in 2016. That was enough to comfortably overtake digital video, which attracted 181.31bn music streams in 2015, up 7.5% on 168.59bn in 2015. (Obviously, two related players completely dominate this field. So for ‘digital video’ you can largely read ‘YouTube and Vevo’. And before you ask… BuzzAngle’s tally includes both premium content and identified tracks attached to YouTube user-generated-content.) Ad-funded on-demand streaming volume only grew 14.3% , up to 59.36bn from 51.96bn year-on-year. The biggest story in the market was on-demand audio subscription streaming. In the year of Apple Music’s launch, says BuzzAngle, paid-for streams on these platforms bounded up 124.3% – attracting 191.36bn plays in total. That meant, for the first time ever, there were more music streams played by […]
Five years ago, the demise of the music industry seemed almost inevitable. Recession, rampant piracy, falling CD sales and a fear that “kids just don’t buy music any more” had giant record labels, once oozing wealth, counting the pennies. Yet 2016 has seen a reversal of fortune – and the industry’s saviour is not what many predicted. Profits from music streaming, first championed by Spotify and now offered by Apple and Amazon , have given some labels their largest surge in revenue in more than a decade. At the beginning of December, one of the world’s biggest labels, Warner Music, announced revenues of $3.25bn (£2.66bn) this year – its highest in eight years. More significantly, $1bn of that was from streaming, more than double its download revenue and more than $100m more than its physical revenue. The surge in profits is being seen across all the major labels. In the first half of 2016, streaming revenue in the US grew by 57% to $1.6bn, and worldwide digital revenues overtook those from physical sales for the first time in music industry history, mainly because of streaming. This year’s most-streamed artist was Drake, with 4.2bn streams. There are 90 million people […]
Un article de Quartz publié en décembre 2015 décortique le fonctionnement de l’algorithme de recommandation de Spotify. Quelques semaines plus tôt, nous interrogions les utilisateurs français des services de streaming sur leur compréhension de ces mécanismes. La recommandation personnalisée est devenue la véritable zone de concurrence et de différenciation des services de streaming musical, comme nous le soulignons dans le Cahier IP 3 « Les données, muses et frontière de la création ». Pandora, Deezer, Apple Music placent tous la recommandation selon les goûts de l’utilisateur au centre de leur stratégie de communication. Votre Flow. Toute votre musique. 100% personalisée. “Avec votre Flow vous êtes certains de tomber sur la musique que vous avez envie d’écouter. Il connait votre bibliothèque et vous propose une sélection de titres à votre image. Dites-lui aussi ce que vous aimez, ce que vous n’aimez pas, il s’adapte à vous comme par magie.” Dis-moi qui tu aimes, je te dirai qui tu es sûr d’adorer. “Tout le monde aime découvrir de nouveaux titres. Et grace à nous, vous n’aurez même pas à les chercher. Dites-nous simplement quels sont vos genres ou vos groupes préférés, et nos experts vous feront des suggestions adaptées. Vous pouvez […]
AWS Shield may shield Amazon from cloud competition As the leading provider of cloud computing platforms, Amazon ( AMZN ) faces constant threats from rivals seeking to take its market share. Aware of this challenge, Amazon developed AWS Shield, a cloud security solution designed to make its cloud service, Amazon Web Services (or AWS), more appealing and sticky. Amazon’s Cloud division is growing rapidly, posting 55% growth in 3Q16 and an annual revenue run rate of $13 billion. Additional features such as its cloud security service could further boost its growth rate. AWS Shield is a security service designed to help Amazon cloud customers guard against attacks, such as hackers generating junk data to jam traffic and deny legitimate access to websites. Premium version to cost $3,000 per month Amazon’s AWS Shield is available in two versions—AWS Shield Standard and AWS Shield Advanced. While AWS Shield is free and enabled by default for AWS customers, AWS Shield Advanced is the premium version of the security service. Costing $3,000 per month, AWS Shield Advanced is optimized to protect against aggressive traffic flooding attacks, also known as distributed denial-of-service (or DDoS) attack. On October 21, 2016, a DDoS attack rendered pockets […]
Top Stories Many people are still listening to AM and FM radio, even as Pandora is the leading streaming service among millennials and as purchased music remains popular, according to a new Morning Consult poll. ( Morning Consult ) Amazon.com Inc. is outpacing other retailers when it comes to holiday shopping, with more than 26 percent of consumers saying they do the bulk of their holiday shopping on Amazon. ( Forbes ) The NFL is testing a commercial package that would lessen the frequency and length of ads during games. ( Advertising Age ) A subsidiary of Publicis Groupe and two subsidiaries of Omnicom Group Inc. were subpoenaed by the U.S. Justice Department’s Antitrust Division in connection with a “bid rigging” investigation. ( Adweek )
An Apple logo hangs above the entrance to the Apple store on 5th Avenue in the Manhattan borough of New York City, U.S., December 5, 2016. Apple ( AAPL.O ) will launch a legal challenge this week to a record $14 billion EU tax demand, arguing that EU regulators ignored tax experts and corporate law and deliberately picked a method to maximize the penalty, senior executives said. Apple’s combative stand underlines its anger with the European Commission, which said on Aug. 30 the company’s Irish tax deal was illegal state aid and ordered it to repay up to 13 billion euros ($13.8 billion) to Ireland, where Apple has its European headquarters. European Competition Commissioner Margrethe Vestager, a former Danish economy minister, said Apple’s Irish tax bill implied a tax rate of 0.005 percent in 2014. Apple intends to lodge an appeal against the Commission’s ruling at Europe’s second highest court this week, its General Counsel Bruce Sewell and Chief Financial Officer Luca Maestri told Reuters in an interview at the company’s global headquarters in Cupertino. The iPhone and iPad maker was singled out because of its success, Sewell said. “Apple is not an outlier in any sense that matters […]
La plateforme de streaming d’Apple se plie en deux pour les étudiants avec une nouvelle offre tarifaire avantageuse à -50%. Apple fait du bien aux étudiants. Plus précisément à leur portefeuille et à leurs oreilles ! La marque à la pomme a présenté ce matin une nouvelle offre tarifaire d’abonnement à 4.99€ au lieux de 9.99€. Une première dans l’univers ultra-concurrentiel du streaming où Apple se partage le marché en France avec le leader Spotify et Deezer. Un coup d’accélérateur La plateforme de la firme américaine lancée au printemps 2015 passera bientôt le cap des 20 millions d’abonnés.
Last week, Apple released its new iOS 10 and with it, the new version of Apple Music we’ve been waiting for. Never ones to wait when we can dive in full steam, we’ve gone through its sleek new interface and updated our Apple Music Best Practices accordingly. These tips are as fresh as the new app. Images Don’t be a microphone — make sure your artist images are updated. Any artist for which an image has not been submitted appears on the service as a microphone. To get yours up there, use The Orchard Workstation’s Artist Builder tool. Select the correct artist profile and upload your images using the following naming convention: Gallery1Image1.jpg, Gallery 1Image2.jpg, and so on. This is key; improper naming will mean your images are not supplied to Apple. Note the following image specs carefully: Artist Images 2400×2400 pixels minimum size, do not upscale 72 dpi minimum 1:1 aspect ratio (square) JPG or PNG file type RGB colorspace Artist Gallery Images 2400 pixels on the shortest side, do not upscale 72 dpi minimum No restrictions to aspect ratio JPG or PNG file type RGB colorspace Once uploaded, please notify your client manager and send them this completed iTunes Image Submission Form . This is the only way they will know they are there, so do not forget this step! Of course, all images should be clear and of the highest quality possible. They should not be advertising any content, pricing or website, or include any iTunes or Apple logos. If you prefer to share your images with us through an FTP, please contact your client manager. Connect Guess what? Connect has come out of hiding. No longer hidden on another page, Connect is now more integrated into artist pages and the “For You” section of the […]
Kobalt’s very own collection society , AMRA, has signed its first global digital licensing deal and it’s a biggy – Apple Music. The agreement, which covers the globe outside the US and Canada, will see AMRA collect royalties for songwriters and publishers direct from Apple for usage around the world. AMRA represents Kobalt and its clients, including over 500 independent publishing companies such as B*Unique, Communion, Polar Patrol and Chris Blackwell’s recently-signed Blue Mountain Music. Traditionally, digital music services like Apple Music have required separate deals with numerous CMOs on a territory-by-territory basis to license repertoire worldwide. Kobalt told MBW that its licence agreement with Apple Music was “the first of a set of new global deals concluded by AMRA”. You can bet Spotify, and very possibly YouTube, are also on that shopping list… Kobalt has invited other publishing rights-holders – including the majors – to join AMRA, arguing that it can do a more cost-efficient job of collection that non-for-profit territory-specific societies. “I am thrilled by AMRA’s unique ability to make direct streaming deals with the leading streaming players.” Willard Ahdritz, Kobalt Digital platforms can currently obtain a Europe-wide license for repertoire through the likes of as Solar and ARESA – a process which is set to become even easier with the new PRS/STIM/GEMA hub launching next year. However, licensing the rest of the world usually requires a vast number of agreements with organisations in a string of individual countries. In some of these territories, particularly within Latin America and Africa, obtaining all due royalties has proven no easy task for songwriters and publishers in the past. [ READ : ‘Kobalt: Major publishers should come and join our collection society’] Powered by its KORE collection technology, Kobalt claims that ‘AMRA is uniquely able to process the billions of […]