The Verve Label Group will be comprised of Verve in addition to UMG’s US classical music labels including Deutsche Grammophon, Decca Records, Decca Classics, Mercury Classics, and distributed label ECM.
David Foster, who led the Verve label since 2012, is leaving UMG to return full-time to producing.
According to figures communicated by BPI and Snep, roughly the same number of music streams were played in the UK and France in 2015: 54 billion in the former, 50 billion in the latter.
Yet when you crunch these numbers further, something isn’t right.
In 2015, the UK’s 53.7 billion streams consisted of a 50 – 50 split between audio and video.
Yet in France, the breakdown between audio and video streams was an unbalanced 35% – 65% split in favour of video.
Nous mettons 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 ;
Derniers résultats des écoutes radio du CIM.
We got good news back in January when we learned that, at a retail level, the UK’s recorded music industry grew 3.5% in 2015.
Today, a reality check: the money which then made its way to labels from sales and streaming actually fell 0.9% in the year to £688m ($1bn), says the BPI.
When performance rights are folded in, total label income did rise by a sliver (0.6%) in 2015 – some positive news, but meager consolation when new startling figures about YouTube are considered.
According to the BPI’s new Music Market 2016 yearbook, 26.9 billion video streams of music (across YouTube and Vevo) were measured by the Official Charts Company in 2015, up 88% on the year before.
Meanwhile, audio streams grew at a slightly slower pace. They were up 82% to 26.6bn streams.
That meant Vevo and YouTube were responsible for more than 50% of all on-demand music streams in the year – up on the 49% these services claimed in 2014.
SoundCloud Go is a whole new way to make revenue for your tracks and will help get your music out there since it is a subscription based service. With that said though, that means that potentially there is confusion over some material showing up in your profile without you uploading it and other concerns and questions.
This post has been prepared to make you understand the entire situation as a whole.
Chez Nada, nous sommes particulièrement heureux de vous annoncer l’arrivée dans l’équipe de Max Meli et Anthony Consiglio, de Back In The Dayz, agence de productions de concerts, booking, et management.
Back In The Dayz a développé depuis quelques années un impressionnant catalogue HipHop & Electro. Qui compte des pépites comme Guts, La Smala, Hamza, Vald, ou les revenants de Sniper.
Max et Anthony agissent comme bookers, managers d’artistes, et producteurs de concerts et d’événements depuis près de 10 ans. En plus de la prod de concerts, en intégrant Nada, ils amènent également une dimension ‘communication’ très importante.
Amazon is going head-to-head with YouTube, launching a new online video platform which gives content owners a variety of distribution – and payment – options.
Amazon Video Direct (AVD) launches today as an enhancement to Amazon Video – the home of paid-for Netflix rival Amazon Prime Video.
We’re told that customers in the United States, United Kingdom, Germany, Austria and Japan ‘now have access to new movies, TV shows, docu-series and music videos from content creators’.
However, no recorded music companies have so far been named as official launch partners.
Alarm bells for the music business may already be going off: Amazon has given detail as to how content owners can upload videos onto AVD – but how they take them down in the case of copyright infringement is another matter.
The Independent Music Publishers Forum (IMPF) was officially founded at Midem two years ago, and now counts more than 50 rights-holders as members.
They include Bucks Music Group, Reservoir/Reverb Music, Sugarmusic, Budde Music, SONGS Music Publishing, Wixen Music Publishing, ABKCO, Bicycle Music Company and Downtown Music Publishing.
Pierre Mossiat, CEO at Strictly Confidential and another founder member, Annette Barrett of Reservoir/Reverb tell MBW that IMPF was partly created to ensure the independents had a voice on the board of the ICMP – the global trade body representing music publishers’ interests.
Says Mossiat: “We realised that the reaction to our creation may be: ‘Another trade association?!’ But we had the feeling that a few questions were not being answered for us [at ICMP].
“ICMP is doing important things that we don’t always understand or have input into. As independents, we have to have an eye on regulations, but that’s time-consuming and expensive – and ICMP is a perfect tool to manage it, so long as it’s not only in major interests.”