All is not well in the music industry. Revenue is a fraction of what it was during the heyday of the CD—and far from being replaced by iTunes singles, sales from downloads have fizzled, too. Vinyl has staged an unlikely comeback, but its rise is only remarkable in the context of the rapid demise of all other physical forms of music. And music videos are hardly a reliable source of income.
There is hope, though, and it’s streaming music. Services like Spotify and Pandora continue to grow, helping drive a nascent sales increase in the industry for the first time, as Kid Rock would say, in a long time.
Since 2008, British audio specialist Naim has been working to fill the cabins of Bentley cars with finely tuned sound.
Now it’s working to bring that partnership into your house. The company’s latest multi-room all-in-one speakers take cues from Bentley models and vibrate the sheetrock with Naim for Bentley audio might.
Source: New Atlas
Pandora today revealed the next generation of its Artist Marketing Platform (AMP), a powerful evolution of Pandora’s unique suite of marketing tools that includes Artist Audio Messages, Featured Tracks and AMPcast. The redesigned platform makes it even easier and faster for artists – emerging to megastar – to grow an audience, track progress and connect with fans on Pandora.
In addition to providing valuable data about how an artist’s music is performing on Pandora, AMP now features a dynamic feed of an artist’s campaign activity as well as performance metrics and suggestions for new campaigns. AMPcast, in limited release since it launched earlier this year, is now open to all artists. Its new features give artists the ability to geotarget Artist Audio Messages, share these messages via social networks or save draft messages to edit at a later time – all from the Pandora mobile app. Continue reading “Pandora Rolls Out the Next Generation of Its Artist Marketing Platform”
Spotify is making its audio inventory available to programmatic buyers in Asia-Pacific via a new deal with The Trade Desk.
The service launched after a beta where users were targeted with audio, video and display ads based on their listening habits and demographics.
Matt Harty, the company’s senior vice president, Asia, said launch customers included brands in Australia and Southeast Asia, but he declined to name them.
Source: Campaign Asia
The larger question is: are albums necessary anymore? If fans are consuming music on streaming services and mostly listening to playlists, does it even make sense to release full albums and build campaigns around their release, instead of simply releasing tracks as they are finished and running on-going campaigns to break artists?
Music executives discuss fan likes and dislikes (such as single-platform releases, Beyoncé), the power of radio, Spotify and social media influencers, and why most musicians can’t make a living now no one pays for music.
Source: South China Morning Post
Since Spotify and Apple have close to two-thirds of the world’s nearly 90m paying subscribers to streaming services, they are the ones shaping the future.
If Spotify acquires SoundCloud, a mostly free service that claims to have 175m monthly listeners, its position would be stronger still. Last month Daniel Ek, the co-founder and chief executive of Spotify, tweeted that his company had surpassed 40m subscribers—adding 20m since June 2015, as many as it had acquired in its first seven years in operation. Spotify reached this milestone despite intense competition from Apple Music, which has won 17m subscribers since its start in 2015. The smaller firm hands over close to 70% of its revenues to the music business in royalties, says an industry executive.
Source: The Economist
Sure, the instant release is losing its special character, it’s not the revelation it once was. But instant availability is a treasure. We live in the era of instant gratification. To promote that which we cannot consume is to leave money on the table. If you can get someone’s attention, let them click, let them experience, let them listen!Which is why exclusives are to the detriment of artists.
There’s a movie on Apple Music and the press does a story and then the rest of the world forgets about it. If you’re bothering to sell, let people partake.But the music business has become about the short money. If you pay me now, I’ll forget about tomorrow.
Source: Lefsetz Letter
A study by Roy Morgan Research, which examined methods of digital music consumption in Australia between 2012 and 2016, highlights the shifting preferences of the country’s consumers. It found 19.7% of consumers ages 14 and older had streamed music in an average four-week period between April 2015 and March 2016, up 91% from the 10.3% share seen between April 2011 and March 2012.