Spotify

Spotify Earnings: Growth Comes At A Cost

Spotify has published its much anticipated 2016 revenues. Because the company is under so much analytical scrutiny, there is little that is particularly surprising but there is still plenty we can learn from the results: Growth maintains momentum: Spotify recorded revenues of €2.9 billion in 2016, up 51% from €1.9 billion in 2015. Although that was a lower growth rate in % terms (80% for 14/15), it was a bigger net add in revenue terms (€989 million net new revenue in 2016 compared to €863 million in 2015). Spotify still has some way to go before it challenges Netflix’s $8.2 billion streaming revenue, but it is making clear progress. Spotify is getting ready for public reporting: The 2016 accounts featured heavy restating of previous year figures and many line items from last year’s accounts were no longer reported. All of which points to an organization getting its reporting structures in place for a public listing of some kind. ARPU is a mixed story: Spotify’s total monthly user ARPU increased from €1.82 in 2015 to €1.94, driven by a small increase in ad supported user APRU and, more importantly, a higher share of paid users (38% in 2016 compared to […]

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Spotify financials reveal €539.2m net loss in 2016

Spotify has published its financial results for 2016, and they reveal that the company’s net loss increased from €231.4m in 2015 to €539.2m ($601.4m) last year.

The company’s revenues grew from €1.93bn in 2015 to €2.93bn ($3.27bn) in 2016. So, Spotify’s income grew by just under 52% year-on-year, but its losses increased by 133%.

Spotify’s operating loss increased from €236.3m in 2015 to €349.4m in 2016, with the company citing “the cost of debt and the impact of foreign exchange rates on our debt and investments” as the reason for the disparity with its net loss.

As for costs, in the financial filing, Spotify cited “product development, international expansion, and a general increase in personnel” as the key elements in its operating loss for 2016.

The financials reveal that Spotify spent €206.9m on product development in 2016; €417.9m on sales and marketing; and €175.2m on general and administrating costs.

The company’s average headcount grew from 1,581 in 2015 to 2,162 in 2016, with wages and salaries expenses of €231m that year: an average salary of €106.8k.

http://musically.com/2017/06/15/spotify-financials-reveal-e539-2m-net-loss-2016/

Spotify now has 140m active users, up from 100m a year ago

Update: after this story went live, Spotify also published its 2016 financial results, revealing revenues of €2.93bn and a net loss of €539.2m.

Spotify now has more than 140 million active users, but the company is not saying how many of them are paying for a subscription to the music-streaming service.

The company announced the milestone on the eve of advertising conference the Cannes Lions, where it will be courting brands and agencies – and thus where its overall reach will likely be a more important metric than its paying subscribers.

“This is a particularly meaningful development, as our brand partners now have a bigger opportunity than ever to activate Spotify’s free user base,” blogged its VP and global head of ads monetisation Brian Benedik.

 

STIM Spotify royalty payouts delayed after ‘unmatched tracks’ dispute

The relationship of Spotify and Swedish collecting society STIM has encountered a bump in the road, relating to the terms of their royalties agreement. “We have informed our rightsholders that the royalties from Spotify will be delayed, since Spotify has not yet payed the invoice regarding Q4 2016,” STIM’s spokesperson told Music Ally. “We have invoiced according to the same routines as during the whole of 2016, but Spotify now makes a new interpretation of the terms of our current agreement. STIM’s position is that already agreed principles and business standards shall apply.” The spokesperson added that STIM is in “constructive discussions with Spotify to have this resolved in a quick manner”, so that it can pay out the royalties as soon as possible. For its part, Spotify’s spokesperson provided this statement to Music Ally: “We are always working to ensure that royalties are paid out to rightsholders in a correct and efficient way. Spotify offered to pay STIM the full amount to matched rightsholders, but STIM declined,” said the spokesperson. “The amount in dispute relates to unmatched tracks. We are actively working with STIM on having this resolved in order to present rightsholders with their earned royalties.” This […]

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Global electronic-music biz is now worth $7.4bn says IMS+”pdf”

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Who’s Leading The Streaming Pack?

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Spotify muscle ses recommandations en rachetant une startup parisienne

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Spotify buys machine-learning startup Niland

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Spotify Hires Advisors for Possible Listing on New York Stock Exchange

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[Numbers] Spotify VS Deezer: combien ont-ils d’abonnés?

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Warner Music boss nears royalty deal with Spotify

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All that free music on YouTube is good for you, Google tells music biz

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Spotify pourrait entrer en Bourse sans intermédiaires

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NMPA President David Israelite Discusses the Latest Music Streaming Issues, Including the Copyright Royalty Board Hearings

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Here’s the letter Spotify’s founders wrote to the EU complaining Apple and Google are abusive

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SoundCloud reportedly considering selling for as little as $250M as its struggles continue

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Spotify dépasse les 50 millions d’abonnés

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Quelle évolution pour le marché mondial du streaming ?

Pourquoi l’Echo d’Amazon va changer la donne sur le streaming musical

Spotify: un report de son IPO lui coûterait près d’un demi-milliard de dollars

Sprint buys 33 percent of Tidal, pair teaming to combat Apple Music, Spotify, Pandora

 Sprint buys 33 percent of Tidal, pair teaming to combat Apple Music, Spotify, PandoraSprint buys 33 percent of Tidal, pair teaming to combat Apple Music, Spotify, Pandora

Apple owns $246bn in cash. What’s it willing to spend on ruling music?

Apple owns $246bn in cash. What’s it willing to spend on ruling music?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 ), ,

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AMRA signs ole partnership and talks Japan, PROs disruption

AMRA signs ole partnership and talks Japan, PROs disruption

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.

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Spotify and Apple Music will struggle in China. Meet the reason why…

 

YouTube Pays Indies 10% Of What Spotify Does, says Merlin CEO

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How Netflix Can Turn A Profit While Spotify Has Not (Yet)

Updated! Streaming Price Bible w/ 2016 Rates : Spotify, Apple Music, YouTube, Tidal, Amazon, Pandora, Etc.

La moitié des internautes sont des streamers (dans 7 pays) d’après une étude Spotify réalisée en partenariat avec GroupM+”PDF”

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Nielsen 2016 report: “Music consumption is at an all-time high”

Deezer hires former Spotify exec for partnerships role (interview)

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Spotify/GroupM survey evaluates streaming audio advertising

Music Subscriptions Passed 100 Million In December. Has The World Changed?

Spotify/GroupM survey evaluates streaming audio advertising

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Obama Wants to Work at Spotify After the White House…

Merlin Works To Make Independents Equal With Majors On Streaming Services [INTERVIEW]

Les 3 chiffres qui montrent ce qu’il manque à Spotify pour être du calibre de Netflix

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In Apple-Spotify World, SoundCloud Can’t Find Room

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YouTube loses US music streaming dominance as subscription plays jump 124%

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Music streaming hailed as industry’s saviour as labels enjoy profit surge

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Will Spotify kill the music download?

Will Spotify kill the music download?The digital download, ushered in to the mass market more than a decade ago by Apple’s iTunes music store, is in rapid decline as people shift to streaming services such as Spotify and Apple Music. The shift from downloads to streaming is highlighted by the biggest-selling singles of this year and 2006, when Gnarls Barkley’s Crazy became the first download-only song to top the UK charts, in a sign the digital format was eclipsing CD sales. Crazy shifted nearly 661,000 units during its nine weeks at UK No 1 and went on to sell more than 1m downloads. This summer, Drake’s One Dance matched the record achieved by Wet Wet Wet’s Love Is All Around for 15 weeks at No 1 in the UK singles chart – which now combines download, physical and streaming equivalent sales. By the end of September, it had racked up 1.695m sales, including nearly 505,000 downloads and a whopping 119m streams. Streaming’s advantages are that you can listen to any of millions of tracks whenever you like, and create playlists; paying subscribers can also download individual tracks for offline listening. The disadvantage: if you stop paying the monthly stipend of about £10, the access, […]

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Why Is YouTube the Biggest Music Service In the World? Just Ask a Music Fan

Why Is YouTube the Biggest Music Service In the World? Just Ask a Music FanYouTube accounts for one in four music listening hours, according to MusicWatch. But why is it so dominant? The answers, from actual music fans, are almost as confusing as the questions themselves. Spotify has 115 million users (give or take 10 million). It works brilliantly on mobile, and pays artists 16.8 times better . It’s about 100 times better than the music experience on YouTube. So why is it 100 times smaller than YouTube? That perplexing question is now being tackled by MusicWatch, a leading music research firm. The company is headed by analyst Russ Crupnick, who started tackling this question with surveys. Simply, MusicWatch went out and started asking thousands of music fans a simple question: “If YouTube is your preferred music service, why is that?” Here are the three most common reasons that came back: 74% chose it as favorite because it was free 31% chose it because of its on-demand features 26% chose it because there were unlimited song skips But wait: Spotify has a free tier also. In fact, around 70% of its audience uses Spotify for free. So what’s the difference? The answer is twofold: first, YouTube is subject to heavy video ad-blocking, a […]

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Brands Brief:AM/FM Radio Still Popular Amid Growth of Streaming Services

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 )

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Experience Should Be Everything In 2017

2017 is going to be a big year for streaming. Spotify will likely IPO, paid subscribers will pass the 100 million mark in Q1, playlists will boom. 2017 will build upon an upbeat 2016 in which the major labels saw streaming drive total revenue growth. This stirred the interest of big financial institutions, companies that had previously avoided the music industry like the plague. These institutions are now seriously assessing whether the market is finally ready to pay attention to. The implication of all of this is that if Spotify’s IPO is successful, expect a flow of investment into a new wave of streaming services. But if these new services are to have any chance of success they will need to rewrite the rules by putting context and experience at the centre of everything they do. Why User Experience Often Ends Up On The Back Seat Putting experience first might sound like truism. Of course, everyone puts user experience first right? Wrong. You may be hard pushed to find many companies that do not say that they put user experience first, but finding companies that genuinely walk the talk is a far harder task. Just in the same way […]

Musique : pourquoi on succombe à l’appel du vinyle

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CMRRA Announces Reduction In Online Licensing Administration Fee From 10.5% To 6%

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Kobalt explains its Laura Marling Spotify ‘pre-save’ campaign

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Spotify brings soundtracks to Starz’ video streaming app

 

 

Spotify brings soundtracks to Starz’ video streaming app

 

Apple Music : une nouvelle offre à moitié prix pour les étudiants qui va te plaire

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Do Freemium music services offer greater revenue per user than the freemium combo of Radio and Sales?

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Spotify launches biggest ever global marketing campaign in 14 territories

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Spotify révèle vos datas musicales dans un affichage grandeur nature

Spotify révèle vos datas musicales dans un affichage grandeur natureMessage à la personne qui écoute des chants de Noël depuis Juin. Spotify a donné lundi le coup d’envoi de sa plus grande campagne d’affichage mondiale jamais entreprise. Sous le slogan « Thanks 2016, it’s been weird », l’agence interne Spotify in House révèle de manière humoristique les données improbables de ses utilisateurs. Grâce à la data récoltée, Spotify a pu déployer un affichage sur la base d’un ciblage hyper géolocalisé. Et donc pertinent. Par exemple sur une affiche au Royaume-Uni, Spotify souhaite bien du courage aux « 3 749 personnes qui ont chargé la musique ‘’It’s the End of the World As We Know It’’ le jour du Brexit ». À New York, sur un poster, Spotify demande des tickets gratuits aux « c hers 5376 personnes du Theater District qui ont écouté les musiques de Hamilton cette année sur la plateforme ». En France aussi nous avons le droit à notre petit mot, sur le rond-point de la Bastille (dés demain) « En 2016, les Parisiens ont écouté The Weeknd principalement le vendredi ». Ce qui n’arrangera pas l’image de bons vivants des français ! Nous aurions quand même préféré savoir combien de personnes ont écouté l’Internationale […]

This was Sony Music’s contract with Spotify


This was Sony Music\'s contract with Spotify
Over the last year the music industry has been in flux as artists, labels, and streaming services jockey over the best way to build the future of their business. Taylor Swift pulled her catalog from Spotify; Tidal launched a new platform owned by artists, not record companies; and Apple is preparing to muscle in on the market with its own offering. The one thing missing from much of this discussion has been the details on how deals get done between these groups, but that is no longer the case. More interestingly, the contract details how Sony Music uses a Most Favored Nation clause to keep its yearly advances from falling behind those of other music labels, how Spotify can keep up to 15 percent of revenues “off the top” from ad sales made by third parties, and the complex formula that determines how much labels get paid per stream. This contract — like every other contract involving a music label and a streaming service — has been secret until now. Given the myriad ways Sony Music came out as the winner, it’s worth asking who really should shoulder the blame for the lackluster streaming payments that artists like Swift […]

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Leaving Spotify & The Echo Nest

My last day at Spotify was last week. I’m not working on music discovery for the first time in my life since May 2000. I’m going to take some time off to finish some personal projects and start something new in 2017. I love Spotify: the people, the product, the creators, the users, and the mission. Their acquisition of my company The Echo Nest in 2014 was excellent for everyone involved but especially for artists and listeners. We’ve changed the landscape of music. It took me a long time to come to this decision, but it’s now time for me to learn more things and try something new. The view from my public exit interview in front of my dear team in Somerville, last week: ♥️ (afterwards, I DJed Teddy Riley for 2 hours) pic.twitter.com/llMR8TFulJ My professional & personal life for so long has revolved around scalably helping artists find fans and fans finding new artists. I was a musician and computer science grad student in NYC at the top of the millennium, trying to tie together all the fast changes in distribution, recommendation, machine learning, signal processing and natural language understanding. Over the next five years I became […]

Gestion des droits d’auteur : les nouvelles règles du jeu

La gestion des droits d’auteur en bref Qu’il paraît loin le temps où l’unique moyen de consommer de la musique était d’écouter un CD ! Désormais, la musique s’écoute sur Deezer, Soundcloud, Spotify, Youtube, Dailymotion, Facebook. Les utilisateurs parlent de Playlists et de Webradio et des startups comme NextVR imaginent des concerts en réalité augmentée. Côté jeux vidéo, même révolution des usages : depuis les jeux en réseau jusqu’au free to play , en passant par les consoles connectées, les packs de contenus téléchargeables ou la monnaie virtuelle, on ne joue plus aujourd’hui comme l’on jouait hier. La cause de ces transformations ? Le digital (toujours lui), qui en démultipliant les canaux de commercialisation est venu complexifier les modèles de distribution de contenu et a du même coup rebattu les cartes de la gestion des droits d’auteur. Dans un certain nombre de secteurs – musique, télévision, cinéma, jeux vidéo, mais aussi de plus en plus sport et industrie pharmaceutique (pour les brevets) – la définition du « droit de propriété » ne va désormais plus de soi. Comment, par exemple, un éditeur de jeux de course automobile utilisant des licences de plusieurs constructeurs peut-il calculer les royalties dues, lorsque certaines transactions résultent de l’achat d’une extension du jeu, qui plus est en monnaie virtuelle ? Comment une major calcule-t-elle les droits d’un musicien dont les morceaux sont partagés sur Facebook ? Comment un photographe peut-il contrôler la diffusion et le partage de ses œuvres sur Instagram ? La complexité est devenue si grande que l’on ne sait plus très bien qui doit combien à qui et de ce casse-tête est né un véritable business en France. Des start-up comme STEM s’organisent pour permettre aux ayant-droits de calculer leur dû via des solutions intégrées ; des sociétés se spécialisent dans […]

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