Eclose sur la plateforme vidéo sans passer par le circuit classique des maisons de disques, une nouvelle génération de musiciens étrenne un modèle économique hybride

Réunissant 70 membres (festivals, salles, clubs), le réseau AJC a questionné ses adhérents pour dresser un portrait des diffuseurs de jazz en France. L’étude porte sur le profil des structures, leurs activités, les budgets et l’emploi.

les Fondations Edmond de Rothschild perpétuent avec passion leur engagement en faveur des arts qu’elles adaptent aux enjeux du XXIème siècle. Leur détermination : mobiliser l’excellence artistique au service de l’inclusion, de la transformation sociale, et du développement personel de chacun.

Spotify now has the power to make an artist famous — with one playlist add.  It also can dramatically boost an artist’s earnings with a simple drag n’ drop.According to a study recently conducted by the University of Minnesota and the European Commission’s Joint Research Center, songs remain on Spotify’s top-ranked playlist, Today’s Top Hits, for an average of 74.4 days.  At the time of this article’s publishing, that playlist is just shy of 20.3 million followers.With that many followers, an artist has a serious chance of catapulting a long-term, lucrative career.  In the short term, getting included in that single playlist may dramatically increase that artist’s revenues.Furthermore, songs that are in the Today’s Top Hits playlist typically experience a play count increase of nearly 20 million.  This equates to a tentative royalty payout of between $80,000 and $163,000.

Other notable findings include low median income, higher rates of mental health struggles, and a higher rate of substance abuse compared to the general public. Surveyed musicians reported a median income of $35,000, with $21,300 coming from music related sources in 2017 (the report also points to the American Community Survey’s findings, which puts musicians’ annual median income between $20,000 and $25,000 from 2012 and 2016; general median personal income is estimated at $31,099). The majority of those music-related earnings (81 percent) were reported to be from live events, and findings also indicate a high degree of skewness—that is, inequality—within those earnings. Sixty-one percent of participants said their music-related income was not enough to meet their living expenses.

Ce neuvième rapport annuel fait état de peu d’évolution des taux de musique, d’une progression de la diffusion sur le panel, notamment sur l’univers de la vidéomusique (+1,7%) qui ne saurait toutefois masquer un recul de la diversité, tant en nombre de clips diffusés (-13,5%) que d’artistes exposés (-4,1%), constat qui s’accentue sur le câble-satellite.Sur les chaînes numériques hertziennes et pour un volume d’heures de diffusions musicales en hausse (+2,4%), seule la diffusion de concerts progresse (+6%), au détriment du live plateau (-11,5%) pour un nombre moindre de programmes (-9,2%) comme d’artistes exposés (-1,6%)..

None of this means that catalogue is dead, but it does need an overhaul if it is to retain relevance. Selling people nostalgia is no longer enough on its own (though of course a solid market still exists for selling digital remasters to aging rock fans). The Guardians of the Galaxy is a great example of how to make catalogue work in the current market. For young fans of the movie, the music is simply the soundtrack to part of their culture that just happens to be decades old. The music is given new cultural context for a new generation. This is the sort of thinking catalogue needs to thrive in the streaming era.

Le marché unique numérique, et en particulier le respect de la propriété intellectuelle, alimente de nombreux débats. Le Parlement européen vient d’arrêter une position qui confirme la direction générale : renverser le postulat d’irresponsabilité des plateformes intermédiaires. Celles-ci devraient soit conclure des licences, soit mettre en place des outils de filtrage.

The percentage of Merlin members who say audio streams account for the bulk of their digital revenue continues to grow.Merlin, the indie label licensing and collection juggernaut, is helping its 20,000 labels, imprints and indie distributors grow beyond their home markets.In a survey of its membership, 42 percent of the responding members said that the majority of their digital consumption revenue comes from outside their home territory, up from 39 percent  in last year’s survey. Overall, 18 percent of Merlin members said that the majority of their revenue, including physical and digital sales revenue, comes from outside their home territory.

The EU parliament legal affairs committee recemt;u voted to approve a new copyright directive  giving authors, performers and songwriters much more control over how their work appears online. The directive would require online platforms to pro-actively manage their platforms so that creators could decide when and if their content appears on digital platforms and under what financial terms.This does not make Google/YouTube very happy because currently they enjoy an massive subsidy from creators because they essentially use whatever they want  whenever they want. As usual they claim that it is their “users” who are doing the infringing. Not Google. Never mind that Google is making billions slinging ads against all this unlicensed content.

Le CIM met les chiffres les plus importants à disposition du grand public. Ces chiffres sont calculés sur l’univers suivant :         > La population de 12 ans et plus ;

After 2016’s dual arena closures, Japan’s live entertainment industry recorded its best-ever year in 2017, provisional figures suggest.

Chez nos voisins Belges, Radio Contact (14.26%), VivaCité (14.12%) et Bel RTL (13.12%) sont au coude à coude sur le podium des radios les plus écoutées sur le marché francophones. Suivent Nostalgie (13.07%) et Classic 21 (10.25%). sur cette vague d’audiences réalisées par le CIM entre janvie

Is the future of subscriptions in multimedia?

Many tools which deliver and market content on a global scale exist well within the reach of an artist on their own.“BE HONEST WITH YOURSELF: IS THIS LITTLE MORE THAN A VANITY PROJECT THAT ALLOWS YOU TO ALIGN YOURSELF WITH MUSIC YOU LIKE?”Many artists have distribution deals of varying shapes and sizes, or direct-to-consumer platforms, readily available and are more than versed in self-promotion.With that in mind, consider this: is your label going to just be creating another unnecessary administrative step between the talent and their fan base?Be honest with yourself. Are you a visionary who is truly going to bring this overlooked music to the world (hopefully you are)? Or is this little more than a vanity project that allows you to align yourself with music you like?