Mois : octobre 2018

Le second rapport Waterson remet le consommateur au cœur de l’industrie de la billetterie

Pour le Pr. Waterson, « l’industrie de la billetterie pour les concerts a évolué au coup par coup, indépendamment du désir des consommateurs, sans aucune réflexion autour de l’expérience du consommateur et du contrôle des lieux de concerts, avec une stratégie de mise en vente de billets à des heures peu pratiques. […] Les revendeurs sont capables de se dupliquer, mais surtout de permettre aux consommateurs d’acheter des billets à un autre moment que celui de la mise en vente, et proposer des prix que les consommateurs sont prêts à payer, ce qui affecte la stratégie tarifaire des billetteries primaires. »

France :En difficulté, Radio Nova revient aux fondamentaux musicaux 

La fête est finie à Nova. Deux ans après le début d’une relance ambitieuse, la radio détenue par le banquier d’affaires Matthieu Pigasse a décidé de serrer la vis et de renouer avec son identité historique. «Nous nous recentrons sur la musique, concède Bernard Zekri, le directeur de la station, qui fait sa rentrée cette semaine. Les auditeurs de Nova viennent pour la musique. S’il y a une parole, elle doit être singulière ou alors ils se barrent. On ne peut pas faire du France Culture pop ou du sous-France Inter.» L’époque où la station demandait aux journalistes d’investigation Gérard Davet et Fabrice Lhomme de lancer une hebdomadaire (Eléments de langage) est révolue. Retour au «Grand Mix», son slogan de toujours.

Genius is bringing lyrics to Apple Music – but it’s also sticking with Spotify

New York-based lyrics platform Genius has made Apple Music its official music player.Starting today, Apple Music subscribers who visit Genius will be able to play any song in full right from the song page, by signing into their Apple Music account.In addition, users of Apple Music will be able to access the Genius lyrics database via the streaming app across thousands of hit songs.MBW understands, however, that Genius is continuing to power Spotify’s popular ‘Behind the Lyrics’ feature.

Artists Call For Fair Remuneration And Transparency In Europe

Artists are calling on the EU to give clear rights to fair remuneration and transparency in Europe. As the Copyright Directive reaches its final stage, the Council, the Parliament and the Commission are negotiating a single compromise text in the trilogue. All three EU institutions have recognised that artists deserve a better deal. International Artist Organisation (IAO) is urging the trilogue negotiators to agree a mix of measures to redress the balance for artists.

Warner Music Exec: «Le business de la musique physique est encore fort. Nous n’avons aucune intention de nous éloigner de ce business »

Les disques vinyles continuent de croître rapidement et les CD ne se chargent peut-être pas aussi mal que nous le pensons  
La résurgence des disques vinyles amène évidemment les labels à reconsidérer le format. Mais pour au moins un grand label, les CD ne sont pas encore abandonnés, les formats physiques revenant dans leur ensemble.
Lors de la conférence Making Vinyl à Detroit la semaine dernière, Billy Fields, dirigeant du Warner Music Group, a réaffirmé l’engagement de sa société en faveur des disques physiques, à la fois en vinyle et en CD.  (article en anglais)

Why Your Song Isn’t Getting Placed in a TV Show (and How To Fix It)

It seems every artist is trying to figure out how to get their songs licensed to TV shows, film, trailers and commercials.And rightfully so, there can be a lot of money in it.But it’s not easy. And there are only so many placement opportunities. Only so many songs each TV show can use. Only one song each commercial can use. Only one song each trailer can use. You get the point.The people who handle the placement of music in TV shows are called music supervisors. Or supe for short.These supes are responsible for finding the right songs for each spot in each episode that requires a song. And, most importantly, clearing the rights to use this song Most artists don’t understand what rights they control.

Spotify Shares New Stats On 10th Anniversary

Spotify turns 10 the week, and in addition to a list of its most streamed tracks of the last decade, the streamer is sharing some impressive stats that go beyond the usuals subscriber counts.180 million monthly active listeners active in 65 countries 
As of August 31, 2018, the streamer has paid over $11.53 billion USD/ 10 billion EU to rights holders since launch
40 million songs and podcasts in the library
3 billion+ user-created playlists.
2,000+ genres have been identified on Spotify, among them Wonky (electronic music characterized by synths with unusual time signatures), Shimmer Pop (a Swedish cousin of indie pop and indietronica), and British Blues (the blues … with a British flavor) “listening diversity,” or the number of artists the average user streams per month, has risen on Spotify over the past 10 years at an average of about 8% per year
In the 3 years alone, listening diversity increased about 40% on the strength of new personalized and editorial playlists—meaning people are listening to an increased number of artists on a regular basis

Believe buys majority stake in rock and metal label Nuclear Blast

Believe Digital has acquired a majority stake in 31-year-old rock and metal label, Nuclear Blast, for what MBW understands is an eight-figure sum.The wide-ranging deal sees Believe become a distribution partner and shareholder of Germany-born Nuclear Blast – one of the biggest existing label brands in rock music. Company founder Markus Staiger also remains a shareholder.

Market Potential: African Music Business On The Move

by Ben Oldfield, Orchard VP France, Benelux and West Africa from The Orchard’s Daily RindThe African continent represents a massive potential market for music consumption in the streaming era. The sheer volume of smartphone users on the continent could equate to a great additional source of audio streams — outdoing some current usage figures worldwide.It will be fascinating to see how this economic development becomes a reality. What changes could become influenced by this new listener base? What impact will this change have on musical usage, consumption, and, even, production? The truth is, billions, not just millions, of new consumers could gain access to music across this continent in an easily accessible, legal and monetized form. It’s no longer a dream but more a question of when, rather than if.However, an entire ecosystem will not be able to enter the marketplace overnight. To build a strong foundation in this market, one of the key factors is understanding their relationship between streaming platforms and telephone companies.In Africa, Telcos can potentially become the vital funnels for this consumption for a mass market dependent on their supply of data, which can currently only be purchased outside usage bundles for music services locally except for a few models just starting out.

Rapport consommation de la musique dans le monde 2018 (IFPI)

L’IFPI publie ce 9 octobre le panorama 2018 de la consommation de musique dans le monde. Ce rapport décrypte les nouveaux usages des consommateurs âgés de 16 à 64 ans, dans les 20 principaux marchés de la musique enregistrée dans le monde. Il démontre à quel point la musique est étroitement liée à la vie du public dans le monde entier. Devenant un peu plus accessible chaque jour, elle est consommée sous toutes ses formes, dans la diversité de tous les genres et grâce à de multiples technologies. (document en anglais)

SoundCloud expands direct monetization program to hundreds of thousands of users

The platform is expanding its direct monetization program, SoundCloud Premier, to hundreds of thousands of users and claims to offer “the power of direct monetization to many times more creators than any other audio service”.SoundCloud Premier was previously an invite-only program, but it is now being rolled out to SoundCloud Pro and Pro Unlimited ‘creators’ with ‘eligible content’, at no additional cost.Eligible creators are those with at least 5,000 plays in the past month from countries where SoundCloud listener subscriptions and advertising are available (US, UK, Canada, Australia, France, Germany, Ireland, The Netherlands and New Zealand).

Frédérick Rousseau, la musique globale : Responsable valorisation industrielle et communautaire à l’Ircam, il évoque pour nous son dernier challenge.

Fort d’une discographie parmi les plus impressionnantes de l’Hexagone, cet ingénieur du son et musicien a été sollicité par Vangelis, Jarre, Desplat et bien d’autres. Responsable valorisation industrielle et communautaire à l’Ircam, il évoque pour nous son dernier challenge.

U.S.A. – Brings Pandora Data to Light 

Have you ever wondered how an artist’s content has been performing on Pandora but couldn’t find the data you were looking for? Up until recently, Pandora data was only visible to an artist and their manager and label. In an industry where stream counts are an important measure of an artist’s success, the inaccessibility of this data publicly has meant that Pandora’s important role in many artists’ career trajectories has gone unnoticed.We’re excited to announce that today marks the final wave of Pandora data being publicly unveiled in Next Big Sound. Now, the Releases, Reach, and Engagement sections of the profile will show Pandora metrics like Radio Spins, Interactive Plays, Thumbs Up, and Station Adds for every artist on Pandora and each of their tracks. Those same metrics are available to all Next Big Sound users in their email notifications and Weekly Report emails for artists that they follow.