Category Archives for "Music Industry Stats"
YouTube is capable of making people stars, and while that happens to exceptional content creators, most of them are not music artists. One of the reasons that artists don’t fall into the YouTube star category is that their general mindset is still set in the past. Here are the 4 places were artists go wrong on YouTube, which leads to far less success on the platform than they’re capable of.
Artists and bands have a love/hate relationship with YouTube but the fact of the matter is that it’s still one of the most effective ways of getting your music out to both fans and non-fans alike, and growing an audience. That said, the techniques that worked in the past are no longer valid. Luckily, there are some very good models to look at for guidance, but few of them are from the music business.
If you’re a music fan or musician on the move, you probably want to know what the music scene is like in the various cities across the U.S. ValuePenguin set out to determine the best cities in the country for music fans by compiling 15 different data points (most of which aren’t specified) into 3 different categories. What the survey determined is fairly surprising. Here are the top 20 music cities in 2016, according to the study.
Although the Nashville area at #1 isn’t much of a surprise, Honolulu at #2, Madison at #4, Albany at #6 and Pittsburgh at #9 are. More surprising is the fact that Austin, San Francisco, Portland and Asheville, all with seemingly robust music scenes, didn’t rank higher.
Here are the bottom 20 cities according to the study.
Most of these are small populace areas, but it’s interesting that there are 4 city areas from California on the list.
Also part of the study was a look at the number of radio stations per population density providing discovery of new music. It should be noted that New York and Los Angeles didn’t appear in the top 5, despite have 428 stations between them.
Again this is very surprising since none of the top 5 cities appear in the top 40 best music cities (Champaign ranks #45).
Once again, the methodology of the study wasn’t detailed, so there may be factors that made the list lean one way or another. That said, it’s interesting to bust some myths on what we consider to be strong music towns, and be pleasantly surprised to find others that are thriving. Either way, there are more music fans in more places than you think, so never assume that a city doesn’t have it’s own scene. It may be much more robust than you would ever think.
Check out the website to find your city’s rank here.
It wasn’t that long ago when it looked like electronic dance music, or EDM, might be the savior of the music business, thanks to an impressive growth rate of 54% over the course of just three years. With overall CD and download sales slowing down, and streaming paid subscribers not increasing as fast as the industry expected, EDM looked like it was the record label’s shining star when it came to fertile new sales ground. The problem is, in the last year, the upswing has slowed to just 3.5%, but that doesn’t mean there still isn’t room for growth in the genre.
According to the IMS Business Report 2016, total EDM sales went from $4.5 billion in 2012/13 to $6.9 billion in 2014/15. In the past year, that growth slowed by quite a bit, increasing by just $200 million, which has a many in the music industry thinking doom and gloom again.
That outlook may be a bit premature, however, because even though the U.S. market seems to have matured, other high-potential markets are only now in the early stages of development. Cuba, South America, Vietnam, the Philippines, and China have all seen huge electronic dance music festivals and clubs launched this year alone. In fact, nine clubs out of 20 new entries into the DJ Mag Top 100 Clubs are in Asia, with four in China, and three in Jakarta. Even a club from the UAE was listed.
One of the reasons for all the optimism comes from the fact that out of all genres of music (and there are a lot), electronic dance music is one of the most transportable. Since it’s mostly instrumental (even if there’s a vocal, the lyrics often don’t play a big part in song), there’s no language barrier between countries as a result. This means that even when the genre has topped out in the major developed countries, growth can still continue in smaller and upstart markets, sort of like what happened with American jazz music of the 1950s and 60s.
While it might seem like most of the revenue growth is coming from live events, that’s not entirely true. Song streams and downloads play a significant part of the genre’s revenue makeup.
For instance, streams increased 33% in the U.S. last year to 15 billion, although that figure is somewhat tempered by the fact that album and digital track sales and genre market share fell. In the UK, however, streaming growth grew at a faster rate than any other genre in 2015, and EDM remained in the top three formats in terms of sales there. In France, a third of the radio stations dedicated more than 10% of their output to Dance tracks in Q1 2015, showing the format is alive and well there too. In fact, Europe in general loves the genre, since figures indicate that at least 1 in 7 people have recently attended an EDM event. [Read more on Forbes…]
(Photo: Andymoore1980 via WikiPedia)
If you were to listen to a week of nothing but radio, you’d think that all we listen to in the U.S. is pop and country music. If you were to read a week’s worth of the music news, you might think that dance/electronic/EDM was close to the top of the heap in what we enjoy. The problem with those assumptions is that they’re wrong, at least according to the 2015 Nielsen Year End Music Report that, among other things, looked at each music genre and discovered which we liked the best last year.
When taking into account the total amount of music consumption, which includes physical and downloaded albums, downloaded tracks, and streams, here’s the order of music genre preference that the study determined:
Rock – 24.5%
R&B/Hip-Hop – 18.2%
Pop – 15.7%
Country – 8.5%
Latin – 4.5%
Dance/EDM – 3.4%
Christian – 2.8%
Holiday/Seasonal – 1.7%
Classical – 1.3%
Childrens – 1.1%
When it came to number of albums consumed, Rock was far ahead at 32.6%, followed byR&B/Hip-Hop at 15.1% and Pop at 22.6%.
For streams, R&B/Hip-Hop came out on top at 21.1%. Rock at 17.5%. and Pop at 14.5%.
Rock might not be the hippest music genre and it’s frequently portrayed in the press as spiraling downward in popularity and relevancy, but it still continues to out-perform other music genres, for better or worse.
Nielsen’s latest music report is out and, as always, it’s very revealing about what we listen to in the U.S. Perhaps it’s biggest revelation is that, for the first time, old music (known as catalog sales) outsold new music in 2015.
Catalog is defined as a music release that’s more than 18 months old. Of course, we’re also talking about music sales and not streams, which is an entirely different matter.
That said, sales of older music came despite the huge sales numbers for Adele’s giant 25 album, which was only available for sale and not as a stream. The album went on to sell 7.2 million copies in the last 6 weeks of 2015 in the U.S. alone.
But lest you think that CDs are completely dead, 2015 saw 125 million of them sold for about $1.52 billion in revenue, which is still a huge amount of money.
And that’s only the CDs that were tallied by Soundscan. CDs sold privately on events and online aren’t counted.
Beyond that, there were 103 million digital albums downloaded, and 11.9 million vinyl albums sold.
As you can see on the chart on the left, catalog music leads over new music in all facets of sales. I guess the “Long Tail Theory” must be working.
It looks like all the naysayers were wrong. Apple reported on its recent earnings call that its Apple Music streaming service was now up to 13 million paid subscribers and still growing.
Much of that growth has come recently in fact, as it was reported that 2 million subscribers signed up since February alone.
The present growth looks to be at around 1 million a month, which means that the tech giant should be battling Spotify for the top space in the streaming industry by the end of year.
Spotify claims to have 20 million current subscribers, but many are on a “student discount” tier at half the $9.99 monthly price.
One advantage that Apple Music has over Spotify is that it’s available in 58 more countries than Spotify, including Russia, China and Japan. All in all, the service is available in a total of 113 countries, leaving Spotify to play catch-up.
One reason for AM’s growth spurt has been albums from Drake, Coldplay, The 1975 and Gwen Stefani, where were releases to AM for a period before Spotify. Having an advert with Taylor Swift was also a big help.
Despite the recent hype around Tidal, it’s Apple Music that seems to be making the most headway.
Edison Research recently completed a study on smartphone usage and discovered that the listening habits of users isn’t quite what we believed it to be. in fact, the results were pretty surprising.
Heavy listeners (those defined by listening to 2 hours or more per day) have a slightly different consumption pattern.
Finally, 87% of adults from 18 to 34 never let their smartphones leave their sides.
All that said, we’re under the impression that the listening world belongs to exclusively to streaming, but that’s far from the case, according to the study. While radio listening and downloads may be dropping, they’re still a vital portion of our listening day.
The IFPI (the organization that tracks global music sales) finally released its annual report on the sales for 2015. If you’ve been reading this blog for a while, none of the figures surprise you.
Here are the numbers right out of the report.
That’s a lot of data to take in, but the big takeaways are that the total industry revenue remains flat at $15 billion, despite streaming’s growth, and paid subscriptions are taking off, at 68 million worldwide as compared to 41 million the year before.
After all these years, it’s surprising how popular The Beatles music still is, and the band’s presence on Spotify proves it. The Fab 4 have been on the streaming service for a mere 100 days, yet the it’s been one of the most popular, even more so than current artists like Ed Sheeran, Ariana Grande and 5 Second of Summer.
The band has averaged 6.5 million listeners a month, with 67% of them being under the age of 35. All told it’s been estimated that the several hundred million plays add up to more than 24 million hours of listening.
Surprisingly enough, Beatlemania is strongest in Mexico City, followed by London, Santiago, Chile and Los Angeles, and Thursday at 5PM is the peak time for listening. The top 4 countries that listen are the USA, UK, Mexico and Sweden.
The 4 most popular songs globally are “Here Comes The Sun,” followed by “Come Together,” “Let It Be,” and “Yesterday,” while the most popular albums are 1, Abbey Road, The White Album and Let It Be. The band’s songs also now appear on 4.2 million playlists.
It’s pretty amazing that the music from any single artist could be so enduring and popular.
Gen Z is coming of age and they have a whole different take on communication than the generations before. Gen Z is generally defined with birth years ranging from the mid or late 1990s through the early 2010s or starting from the early 2000s.
Notice that Twitter isn’t a part of the social mix. This goes to show that pictures and video are a big part of the Gen Z lifestyle, so if you’re fan base is in this demographic, this is something to strongly consider in future marketing campaigns.