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“Global digital music sales grow as music industry develops new business models”

  • Music companies embrace new revenue models, offering consumers more choice
  • 95 per cent of music downloads are unauthorised, with no payment to artists and producers
  • IFPI Digital Music Report calls for ISP cooperation to become a reality in 2009

The music industry has transformed its business models, offering consumers an increasing range of new services with leading technology partners. Yet generating value in an environment where 95 per cent of music downloads are illegal and unpaid for is still the biggest challenge for music companies and their commercial partners.

The digital music business internationally saw a sixth year of expansion in 2008, growing by an estimated 25 per cent to US$3.7 billion in trade value. Digital platforms now account for around 20 per cent of recorded music sales, up from 15 per cent in 2007. Recorded music is at the forefront of the online and mobile revolution, generating more revenue in percentage terms through digital platforms than the newspaper (4%), magazine (1%) and film industries (4%) combined.

At the same time, a new generation of music subscription services, social networking sites and new licensing channels is emerging. These were led in 2008 by services like Nokia Comes With Music, MySpace Music and a raft of partnerships with Internet Service Providers (ISPs), such as TDC in Denmark, Neuf Cegetel in France, TeliaSonera in Sweden and BSkyB in the UK.

Despite these developments, the music sector is still overshadowed by the huge amount of unlicensed music distributed online. Collating separate studies in 16 countries over a three-year period, IFPI estimates over 40 billion files were illegally file-shared in 2008, giving a piracy rate of around 95 per cent.

IFPI's Digital Music Report 2009, published today, gives a comprehensive overview of trends in the music business internationally. It shows an industry that has shifted its approach from one based only on unit sales of music to "monetising" access to music across a multitude of channels and platforms.

Single track downloads, up 24 per cent in 2008 to 1.4 billion units globally, continue to drive the online market, but digital albums are also growing healthily (up 36%). The top-selling digital single of 2008 was Lil Wayne's Lollipop with sales of 9.1 million units - 1.8 million more than the 2007 best selling digital single.

The Report also shows how the digital age is expanding the role of music companies in developing and marketing artists and it outlines the progress being made internationally in getting ISPs to cooperate to curb mass-scale copyright infringement on their networks.

John Kennedy, chairman and chief executive of IFPI, says: "The recorded music industry is reinventing itself and its business models. Music companies have changed their whole approach to doing business, reshaped their operations and responded to the dramatic transformation in the way music is distributed and consumed.

"There is a momentous debate going on about the environment on which our business, and all the people working in it, depends. Governments are beginning to accept that, in the debate over "free content" and engaging ISPs in protecting intellectual property rights, doing nothing is not an option if there is to be a future for commercial digital content."

Downhere wins 3rd Juno Award

Apr 3rd, 2009

For a twist on the press release about the 2009 Juno award, we are going to let Downhere’s bass player tell you the story from his own experience:

Wow!! We were pleasantly surprised and honoured to receive our 3rd ever Juno in Vancouver for our album “Ending Is Beginning”. Past albums, the self titled “Downhere” and “Wide-Eyed and Mystified” were the other two wins. The Contemporary Christian category has only been getting stronger every year. This year the other great Canadian artists we were with were Starfield, Article One, Newworldson and Life Support. So if you haven’t yet, check out their music!!

Winning a Juno in the Contemporary Christian category is an interesting thing. There were 32 awards given out tonight so we were just one in a long list and I’m sure we were one category that most people had no clue about. As we approached the stage to receive our award I heard one guy say to us as we passed, “Go Christians.” That ensured I had a smile on my face the rest of the way up to the stage if I didn’t already! This was the Juno Gala Dinner and Awards so people are generally eating or drinking while they hand out awards. If you are not well known (like us) it can be difficult to hold attention. So we gave our thank you’s, some people listened, heck Sarah McLachlan, BNL and Feist were in the room maybe listening and I find that to be pretty cool! (sidenote, I hung around like the fan that I am after the dinner in hopes I’d see Feist, but no luck!) Then after we finished our thank you’s they took us to a media area where there was one guy from a Christian radio station in Lethbridge Alberta who knew who we were and cared and about 30-40 other media folks who had no clue and didn’t care at all. Kind of funny when they are asking if there are any more questions and while no one responds I’m just waiting for someone to say, who are you guys anyway??

All that to say we had a great time tonight. It was laid back and fun. We got to hear some great music and were able to get a glimpse of all the great things happening in Canadian music right now. I’m proud to be a part of it.

Glenn

"Free" Thinker:

IODA's

Kevin Arnold

As part of our exploration into the meaning and value of "free" music, Hypebot asked some of the music industry's most forward thinkers the value and future of free music.  Here Kevin Arnold, The CEO of digital distributor The Independent Online Distribution Alliance (IODA) shares his perspective.

Ioda-logo We definitely believe Free has value in a number of ways for music.  

First and foremost, in the way it has almost always been used in music and in many many other consumer businesses: as a free sample to introduce a product to new users.  Just like the handouts at Costco, tasting at a winery, or swag bags at conventions and parties, labels and artists have long given away music in the form of samplers and promo CDs, free performances, and outlets like radio and MTV.  In the digital world this act has value in ways that we’re still learning and consistently surprise us.  Who would have thought that the free giveaway of Nine Inch Nails’ last record would end up with it being the top selling album at AmazonMP3 last year?   The important thing with this type of (promotional) Free is that it is done on the artist/content owner’s terms, and that they can control the process to manage the value of the effort and get what they want out of it. 

At IODA, we launched a platform called Promonet way back in 2006 that allows our clients to have control over and insight into this process to provide concrete benefits and trackable results.  Over the past several years we’ve provided free promotional music to thousands of blogs, podcasts, device manufacturers, streaming services, and online retailers, resulting in millions of free downloads and streams.  In return, millions of click-throughs to digital retailers and label/artist sites have generated digital music purchases and deeper fan-artist relationships.  Promonet allows for a limited number of tracks from a release to be made available for free use, and our promotional license requires that the poster of the file properly presents the download with artist, label, and release info and artwork. Most importantly, Promonet requires the inclusion of “buy links” to online retail outlets where the music can be purchased.  The license also enables the artist or label to track the promotional activity and helps them better understand which promotional outlets are most effective at driving traffic and potential sales. 

Beyond the promotional Free are the more recent attempts at commercial offerings that “feel like free”.  This covers pretty much everything from the massively popular streaming sites like MySpace, Playlist, and imeem to ideas like ISP-endorsed free file-sharing or newer models like PlayAnywhere from Catch Media. The key difference is that these platforms aim to offer not a few sample tracks but rather full releases and catalogs. In exchange, content owners expect to get paid for the use of the music.  These models still have a long way to go towards providing monetization levels that most content owners are comfortable with, and many unanswered questions as to whether these services help or hurt other online sales models remain. 

Good old-fashioned free P2P file sharing can also be valuable in some cases, generally for the developing artist in accordance with the “give-it-away-until-you-can-charge-for-it” theory.  But this should be done at the discretion and control of the artist or label, ideally with some measurable results, be they  emails from new fans around the world or more people coming to your shows.

In any case, only the content owner can decide if any of these flavors of Free work for them or not.