For a superb, in-depth analysis of many key industry issues I'd recommend this article from the medium site.
This graph from medium's feature (1 of several there) is a great visual summary of the massive impact of digital disruption - which, remember, is especially linked to developments in online distribution.
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HOW STREAMING PAYMENTS REFLECT BIG 3'S 75% MARKET SHARE
https://boingboing.net/2021/09/26/how-a-math-trick-helped-one-band-made-500-more-in-streaming-music-royalties.html
LOVE ISLAND IS MAJOR HITMAKER
The ultra-trashy 'reality' show uses a lot of obscure musicians, part of its targeting of gen Z/Y, who often find their work appearing in the charts as a result. A combination of Shazaming tunes and the show's Spotify playlists supercharge the popularity of many of the songs/artists featured. Guardian.
K-POP FANS BUY ADS FOR THEIR HEROES...AMD FOOD CARTS
BBC reports on the K-Pop stans, who buy as space worldwide, not just in Korea - and make charity donations.
TRIVIUM MAKE MORE FROM TWITCH THAN ALL OTHER AUDIO SITES COMBINED!
Loudwire interviews Matt Healy on this crazy stat! Metalsucks lays out the key figures - $10k a month from 224k listeners. That works out x10 the revenue/payment rate of music streaming (vastly bigger audience...for same payment!).
MUSIC RIGHTS NEW MONOPOLIST: HIPGNOSIS
DB ANALYSIS: Elberse did a very convincing job of destroying the credibility of the long tail theory in her Blockbusters book, showing that a small number of tentpole hits (in books, games, film, music) account for the vast bulk of sales. Since she wrote this the same has been observed of Spotify. However - that overlooks the revenue from back-catalogue music (and TV/film through multiple global channels) from radio, TV, film and games licensing ... not to mention advertising. So perhaps Malcolm Gladwell's concept has some meaning after all?
Guardian. 'The London-listed company, which earns royalties every time one of the 65,000 songs to which it owns the rights is played, said that revenues climbed 66% from $83m (£59m) to $138m in the year to the end of March.
Hipgnosis, which spent $1bn buying 84 new song catalogues last year, said the increase in streaming while the live music sector remained shut down fuelled a 50% increase in profits to $107m.'
UK MUSIC STARS LAUNCH CAMPAIGN FOR MUSIC STREAMING REGULATOR AND FAIR PAYMENTS
Guardian. 'It argues that streaming via services such as Spotify and Apple Music be legislated more like radio. “The law has not kept up with the pace of technological change and, as a result, performers and songwriters do not enjoy the same protections as they do in radio,” the letter states. “Today’s musicians receive very little income from their performances – most featured artists receive tiny fractions of a US cent per stream and session musicians receive nothing at all.”
