La Salle Pleyel devient un écrin de luxe pour les musiques actuelles. Sur l’île Seguin, la Seine musicale ser

Source: www.lesechos.fr

Music In Africa is an information and exchange web portal dedicated to the African music sector. The portal responds to the need for reliable information and networking between music professionals in Africa.

Source: musicinafrica.net

Alors qu’on les pensait condamnés, les disquaires tiennent bon. Mieux: à Bruxelles, les nouvelles enseignes, lancées par de vrais passionnés, se sont multipliées ces dernières semaines. La preuve par quatre.

Source: focus.levif.be

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Is music-streaming the new radio? At least one Spotify executive has escalated the idea to declare radio’s obituary.

“Radio is of the past – it’s not relevant,” said Austin Kramer, the global head of dance & electronic music at Spotify, during a panel on playlists at Paris Electronic Week. “We are getting information [on tracks] 24 hours after their placement [on playlists]. Radio can’t do that.”

The former SiriusXM staffer added: “Being from radio, it’s sad to say, but that’s really the truth of it. There are certain companies in the US like CBS that say they do look at Spotify. I think it’s just a matter of time before radio either adopts that philosophy and admit they are looking at things like Shazam and Spotify, or they die.”

Source: musically.com

2 Points, the dynamic festival of young European jazz, is on the hunt for 12 of the best and brightest young acts to take part in the 11th edition of this award-winning festival next July in Aarhus, Denmark, in association with the Aarhus Jazz Festival and JazzDanmark, as part of the 2017 Aarhus European Capital of Culture.

Source: www.12points.ie

indicateurs de la diversité et de la francophonie : titres (-10,2%), titres francophones (-8,3%), artistes (-10,9%), artistes francophones (-8,1%), nouveautés (-14,3%), nouveautés francophones (-6,5%) »

Source: philharmoniedeparis.fr

Mercredi s’est ouverte à Cargèse, en Corse, la première édition du Fly Away Festival qui a décidé d’exporter en bord de Méditerranée le rock belge.

Source: blog.lesoir.be

Sony-owned The Orchard has entered into an exclusive partnership with Taihe Music Group (TMG), the largest label group and music service provider in China.

The deal will see The Orchard’s complete music catalogue made available on services including Ali Music, Kugou, Kuwo, NetEase Cloud Music, QQ Music and Baidu Music, which TMG owns.

In return, The Orchard will look after TMG’s local catalogue internationally outside of China.

Source: www.musicbusinessworldwide.com

After almost two decades of relentless decline caused by piracy and falling prices, the music business is enjoying a fragile recovery thanks to the growth of paid streaming services like Spotify Ltd. and Apple Music.

Source: www.bloomberg.com

Revenue from subscription music services more than doubled in the US in the first half of 2016 – driving overall market growth of 8.1%.

According to new figures from the RIAA, paid-for on-demand platforms like Apple Music and Spotify Premium generated revenues of $1.013bn in the six month period – growth of 112%, and enough to offset declines from downloads, CDs and vinyl sales. (Yes, we’re afraid so: vinyl revenues fell.)

The jump in subscription revenue is promising but predictable: last year’s figures barely included cash from Apple Music, which launched on June 30, 2015.

Largely thanks to that launch (as well as Jay Z’s Tidal), the value of the average paid-for US monthly music subscription has gone up: from $8.77 in the first half of 2015 to $9.23 in the equivalent period of this year.

At the same time, the number of people paying for a subscription music service in H1 2016 grew 101% to 18.3m, up from 9.1m the year before.

Total six-month US recorded music industry revenues jumped up by more than $250m to $3.43bn on a retail basis in H1 2016.

Source: www.musicbusinessworldwide.com

The newly launched Chinese music festival, MTA Festival is stepping into the league of SXSW and Coachella, making a unique Chinese cultural symbol and emerging global music festival brand under the desert stars, 90km from Beijing at Sky Desert. 

The Festival is a collection of trending music, the experience of emerging technology, multimedia art performances, installation art exhibitions and much more. With their amazing spirit, artists will transform the desert into a new galaxy, creating a dreamy experience of antigravity, surrounded by nine « planets ». 

Source: www.mi2n.com

Commenting on the transparency provisions for performers and authors, Helen Smith said: « Our members are proud of their relationship with artists. » More than two years ago the independent sector adopted the Fair Digital Deals Declaration supporting transparency and proper remuneration for artists. « Further work is needed to ensure the contract adjustment provision does not go beyond its original intention. We need to be able to maintain our current levels of investment and risk. This is important because 80% of all new releases rely on investment from independent music companies » commented Helen Smith.

Source: www.mi2n.com

Internet platforms generate substantial economic gains by exploiting creative content. The main benefactors are the platform operators which take recourse to an unclear legal situation in order to not pay creatives at all or below value. At the same, platform providers such as YouTube are competing with licensed online services such as Spotify or Deezer. This impedes the development of a common market which is characterised by cultural diversity and fair competition. The EU Commission is now planning to correct this aberration referred to as « transfer of value » or « value gap ».

Source: www.mi2n.com

La croissance du streaming audio payant

7 internautes sur 10 dans le monde (71%) âgés de 16 à 64 ans  consomment  légalement la musique numérique. La popularité des offres payantes de streaming ne cesse de progresser, particulièrement chez les moins de 25 ans. 1/3 des 16 – 24 ans paie désormais pour l’utilisation d’un service de streaming audio.

YouTube est le service de musique le plus utilisé

82% des internautes qui utilisent YouTube le font pour la musique. Ils sont plus nombreux à s’en servir  pour consommer la musique qu’ils connaissent déjà que pour découvrir des nouveautés

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Source: www.snepmusique.com

The question is how well the rest of the market is performing beyond the 2 market leaders?

The streaming music market as a whole is experiencing unprecedented growth, with the major labels collectively reporting a 52% increase in streaming revenue in Q2 2016 compared to the same period 12 months ago. Given that total streaming revenues (including YouTube etc. but not Pandora) grew by 44% in 2015 (according to the IFPI) the picture that is emerging is one of, at worst, sustained growth, at best, accelerating growth.

Although the major label numbers have to be interpreted with caution due to factors such as Minimum Revenue Guarantees (MRGs) – see my previous post for much more detail on this – the headline trend is growth. However, headline growth is not necessarily a reflection of how most of the market is actually performing. In fact, a forensic examination of these numbers cross referenced against reported Apple Music and Spotify numbers reveals that the outlook for the rest of the pack is very different indeed.

Source: musicindustryblog.wordpress.com