MUSIC STREAMING


MUSIC INDUSTRY


STREAMING AHEAD IN THE


As the way we listen to music undergoes a paradigm shift, TBO examines the viability of


streaming services and the impact on copyright owners.


14 Trademarks & Brands Online


Te way we consume music is changing. According to UK music weekly NME, online music streaming behaviour doubled in 2013, while CD sales continue to fall. Billboard has reported that even digital downloads are on the decline as support grows for streaming services that promise any music, anywhere, at any time.


According to music streaming service Spotify, the global value of the recorded music industry has been falling steadily, from more than $25 billion in 1997 to less than $20 billion in 2013, as music consumers opt for formats that simply aren’t generating significant revenues for artists.


Streaming services including Spotify and personalised radio service Pandora have been criticised by some musicians for the amounts they pay artists and songwriters. Artists will receive royalties of between $0.00600 and $0.00840 per stream from Spotify, while Pandora pays $0.00137. For comparison, an artist will earn about about about £1.25 per £8 ($2 per $13) in the UK CD album sold.


Volume 3, Issue 1


Meanwhile, some artists complain that they’re not getting their fair share of revenues. But is it fair to blame the streaming services? Such is the digital music copyright licensing structure that despite their growing popularity, streaming services aren’t enjoying great revenues either.


French streaming service Deezer has five million users, and first became profitable in 2010, three years aſter its launch. Mark Foster, managing director of the company’s UK & Ireland arm, says it is now re-investing in its global expansion, with a view to returning to global profitability once again in 2014. Clearly, it’s a tough business to be in.


“We need the support of the streaming industry, and we all need to work with them to ensure that there’s enough revenue in the value chain to remunerate artists fairly, but also to leave enough margin to allow digital music companies to be sustainable,” Foster says.


www.worldipreview.com


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