Mois : octobre 2018

Streaming Services, New Media And What’s Next For The Music Business

Despite comments to the contrary, Spotify has, in many ways, begun to function as a traditional label. Recently, they launched Spotify for Artists, which provides artists with the tools necessary to improve their reach, such as listener data, and the ability to submit music to Spotify’s editorial team for inclusion on the company’s vaunted playlists. Reports also indicate that Spotify has recently signed deals with independent artists and managers, establishing a direct relationship to talent and removing the label intermediary. As part of these deals, artists are getting the benefit of distribution and promotion, the draw of major labels, while still maintaining their ownership rights, something that almost always ends up in the hands of labels. While the dollar value of these deals is relatively insignificant, it can still be seen by the major labels as direct competition.At the same time, new services such as YouTube Music, Google Play Music and Apple Music have emerged as serious competitors, the last of which just recently surpassed Spotify for the most U.S. paid subscribers.

Spotify + DistroKid sur la route d’un marché à deux faces

L’annonce de l’investissement de Spotify dans DistroKid et de son offre comme canal de distribution vers d’autres services de musique a provoqué des spéculations sur les motivations plus importantes du diffuseur de musique. Pour Mark Mulligan, analyste chez MIDiA, cette évolution fait partie de la stratégie de Spotify visant à améliorer la chaîne de valeur de la musique en « supprimant une partie de la composante distribution et en b) établissant des relations directes avec les artistes ». Mais comment vont réagir les labels?  
(suite du texte en anglais)

Britain’s creative sector is the envy of the world – and the Brexiteers are wrecking it

We know the Brexiteers do not like experts, but here are some inescapable facts from an industry that is remarkably efficient and has gathered in outstanding talents from many new generations since 1945. Richard Corbett MEP has pointed out that only 2 per cent of people in the music world thought Brexit would be good for the industry. Today our musicians travel freely; connections are essential in the global creative world. Post Brexit there will be no guarantee of free movement across Europe. In 2016, our orchestras made 96 visits to 26 different EU countries, according to the Association of British Orchestras – impossible to imagine after Brexit.The post-Brexit visa system will result in a situation that has been graphically described in a well-researched article by the composer Howard Goodall. His work takes him all over Europe at a day’s notice by means of a ticket from Heathrow. This will now take him weeks to organise, and that will deter many of those in this country from going to Europe by reason of expense. The reverse is also true. Musicians from the EU play a crucial role in the day-to-day make-up of UK orchestras and are often called on at a couple of weeks’ notice, which the new system will make impossible. Between 20 per cent and 25 per cent of musicians in some orchestras are from other countries in the EU. There are around 14,000 EU citizens in the UK music industry.

Virgin Fest 2019: Richard Branson Announces U.S. Festival Series

“Our brand’s commitment to the music industry coupled with my partners’ shared appreciation for one-of-a-kind experiences makes the launch of Virgin Fest that much more exciting,” Felts says in the Virgin Fest announcement. “We look forward to bringing guests a positive festival experience so unique, and so inclusive, that it could only have been born at Virgin.”While Virgin Fest is new, Virgin has been involved with festivals previously, including as name sponsor of the V Fests in the UK until recently, Virgin Festival and the Virgin Mobile FreeFest in various locations in the earlier 2000s.  

Interview de David Pastor : Les mutations du secteur de la musique classique

 Le secteur de la musique classique a-t-il dû faire face à d’autres mutations ? Comment s’est-elle adaptée ?D’une manière générale, l’industrie musicale a vécu un grand changement avec l’ère du numérique ; si avant on ne pouvait accéder à la musique que par le CD ou le spectacle en live, le mode de diffusion privilégié est aujourd’hui celui de la plateforme d’écoute numérique comme Deezer, Spotify, Youtube, Soundcloud…  Dans le monde de la musique classique cependant, on n’a pas encore trouvé le vecteur pour avoir un partage d’audience large à partir de ces nouvelles possibilités. Les CD n’ont quasiment pas été remplacés, les auditeurs de musique classique s’attachant énormément à la matérialité de l’objet et à la possibilité d’accéder aux livrets avec les explications des compositeurs et des interprètes. Le label NoMadMusic a certes tenté d’apporter une solution intermédiaire en proposant des livrets numériques mais ceux-ci n’ont pas été encore assez popularisés pour avoir un impact suffisant. Il y a également la question des droits des artistes qui refait surface avec l’économie du numérique, la répartition n’est pas efficace et il faudrait là aussi aboutir à un consensus qui n’est pas inné.  Toutefois, le secteur de la musique classique a quand même connu une certaine mutation avec l’utilisation progressive de la vidéo dans les manifestations musicales. 

The Festival Market in Nothe America : What Is And What Should Never Be (And What Lies Ahead)

“What we’re seeing is that mixed regional festivals seem to be working,” Prime Social Group managing partner Zach Ruben told Pollstar. “You can go in with a much smaller budget with a 10-15K person model per day. There are so many festivals and kids are presented with so many live music opportunities between tours and festivals. Every weekend at all times of the year there’s something to engage in.”The proliferation and success of many new events can create copycats that may not know what they’re getting themselves into, however.“The biggest challenge facing the festival scene in my opinion is that ‘putting on a festival’ became the cool thing to do and frankly too many people were doing it without any thought as to why,” said Madison Entertainment’s Roger LeBlanc, talent buyer for the Kaaboo festivals, Mempho Music Festival and others. 

The Orchard makes play for independent artists with new global division under Tim Pithouse

Now, The Orchard has responded to the increasing presence of independent acts with a new division headed up by Tim Pithouse.Pithouse joins The Orchard as Global Head of Artist & Label Services effective November 1, 2018 – moving over from his prior role as General Manager, International Marketing and Artist Development at Sony Music Australia.In practical terms, Pithouse will head up a division which, for an enhanced fee, will offer Orchard-affiliated independent artists and labels a more holistic set of global services – including the likes of radio promotion and traditional PR – when compared with the company’s standard client agreement.Pithouse will be based in New York and report to The Orchard’s CEO, Brad Navin.

Mixcloud Inks Universal Music Group Direct Licensing Deal

Mixcloud has signed a multi-year direct licensing agreement with Universal Music Group. Under the deal,  UMG artists will be compensated for use of their music on Mixcloud’s ad-supported and yet-to-launch subscription crowdsourced radio platform.The global agreement, excluding China and Japan, includes payment for previous use of UMG music. WMG signed with the streamer late in 2017. Mixcloud is a UK based online streaming service that enables the distribution of radio shows, DJ mixes and podcasts, which are crowdsourced by its users. In April of last year, Mixcloud announced $11.5 million in Series A funding from WndrCo, the media investment company whose founders include Hollywood veteran Jeffrey Katzenberg.

YouTube part à l’assaut du duplicate content

C’est officiel, les règles du programme partenaire YouTube ont évolué. À présent, le duplicate content va être plus sévèrement sanctionné par le géant américain. L’information publiée sur le forum d’aide officiel rappelle que tous les créateurs adhérents au YPP sont concernés par cette évolution. Ainsi, en cas de non-respect avéré, les chaînes seront tout simplement supprimées.Quelles sont les règles à respecter sur YouTube en matière de duplicate content ?Pour accompagner ce changement, YouTube a publié un rappel des règles à respecter pour éviter le duplicate content sur une chaîne. En premier lieu, les vidéos générées automatiquement et les extraits issus de contenus tierces sans enrichissement sont interdits. En second lieu, l’hébergement d’une même réalisation par plusieurs comptes utilisateurs est également prohibé. Enfin, en cas de doute concernant le respect du droit d’auteur, les administrateurs fermeront la chaîne. Pour clarifier sa démarche, YouTube a indiqué :

PRS for Music, PPL Dramatically Expand Their Music Recognition Capabilities

The UK-based organizations have just announced a broadened partnership with DJ Monitor, one of Europe’s top providers of in-venue music recognition technology (or ‘MRT’).  DJ Monitor, based in Amsterdam, essentially offers an industrial-level Shazam-like solution for clubs large and small, with a rack-mountable device installed in the venue.According to details shared with Digital Music News, DJ Monitor has been piloting its recognition solution with PRS and PPL for roughly one year.  So far, the groups have tracked ’31 million seconds of music,’ which sounds like a lot of music, with about 95% of that being properly matched to rights owners.DMN has been covering this technology extensively, while showcasing a range of different companies advancing this space.  That includes a small but highly-competitive group of companies that can install in-venue detection hardware, with DJ Monitor leading the pack.