IMS	  Consumer	  Report	  2012	    A	  world	  tour	  of	  dance	  music	  consumers	           Based	  on	  750,000	  int...
IMS	  Consumer	  Report	  2012	   A	  world	  tour	  of	  dance	  music	  consumers	          Based	  on	  750,000	  inter...
Summary	  (1	  of	  4)	  	  Sec:on	  1:	  Our	  audience(s):	  Don’t	  forget	  the	  70%	  §  We	  think	  that	  our	  ...
Summary	  (2	  of	  4)	  	  Sec:on	  3:	  Where	  in	  the	  world	  §  Note:	  all	  data	  used	  in	  this	  sec=on	  ...
Summary	  (3	  of	  4)	  	  Sec:on	  3:	  Where	  in	  the	  world	  (con:nued)	  §  ...	  US	        –  Dance	  /	  elec...
Summary	  (4	  of	  4)	  	  Sec:on	  4:	  The	  brand	  image	  of	  dance	       –  People	  passionate	  about	  dance	 ...
DANCE	              Page 6
We	  also	  	  	  	  	  data.	  	  Wait:	  What?!?!§  EMI	  is	  on	  the	  way	  to	  a	  million	  high-­‐quality,	  de...
IMS	  Consumer	  Report	  2012	  Agenda	     1.  Our	  audience(s)	               2.  	  So	  what?	  	                   ...
Part	  1:	  Our	  audience	                                      Page 9
our	  audience:	                                                  Self-definedPeople	  who	  like	  a	  lot	  or	  love	  ...
We THINK    our	  audience:	    this is                                   Page 11
… butactually …       our	  audience:	                  People	  who	  like	  a	  lot	  or	  love	  dance	  /	  electronic...
… butactually …     our	  audience:	                People	  who	  like	  a	  lot	  or	  love	  dance	  /	  electronic	  m...
… butactually …      our	  audience:	                 People	  who	  like	  a	  lot	  or	  love	  dance	  /	  electronic	 ...
… butactually …    our	  audience:	               People	  who	  like	  a	  lot	  or	  love	  dance	  /	  electronic	  mus...
30%	  of	  our	  audience:	                                      Page 16
our	  audience:	     We s  pend too much        of our timeon ‘products ’ and marketing       for this group              ...
70%	  of	  our	  audience:	                                      Page 18
70%	  of	  our	  audience:	                                      Page 19
our	  audience:	                People	  who	  like	  a	  lot	  or	  love	  dance	  /	  electronic	  music	           58%	...
70%	  of	  our	  audience:	            We don’t spend    nearly enough of our time   on ‘products’ and marketing          ...
Part	  2:	  So	  what?	                                  Page 22
30%	  Engaged	     70%	  Less-­‐engaged	                                                   Page 23
30%	  Engaged	                 70%	  Less-­‐engaged	                   Change the balanc                                  ...
5	  Examples	                      §  Gedng	  consumers	  closer	  to	  the	  lifestyle.	                          Swedis...
Gedng	  consumers	  closer	  to	  the	  lifestyle	  	  with	  Swedish	  House	  Mafia’s	  Take	  One	  Every	  type	  of	  ...
From	  ‘live’	  to	  an	  experience	  to	  die	  for	  	    with	  Swedish	  House	  Mafia’s	  Masquerade	  Motel	  Swedis...
Bringing	  Live	  to	  the	  Mainstream	  	  with	  Deadmau5’s	  Earl’s	  !Court	  USB	  Deadmau5	  carved	  out	  a	  spe...
Engaging	  fans	  online	  	  Deadmau5	  It	  takes	  a	  special	  ar=st	  to	  want	  to	  let	  fans	  close	  the	  wa...
Merch	  that	  fits	  the	  lifestyle	  	  Pacha	  Their	  merch	  range	  recognises	  that:	  1.  People	  want	  to	  ma...
5	  Examples	     §  Compila:on	  ‘brands’	                      §  Brand	  partnerships	                      §  Other...
Example:	  Compila:on	  ‘brands’	                                           Page 32
Example:	  Brand	  partnerships	  	           Brands	  have	  enormous	  reach:	                                          ...
Example:	  Brand	  partnerships	  	           But	  pick	  appropriate	  brands	                                          ...
Example:	  Brand	  partnerships	  	                                                    as made.               A movie   of...
Example:	  Brand	  partnerships	  	         +	                                       Research:	                           ...
Example:	  Other	  ar:st	  brands	                                             Page 37
Page 38
Let’s	  take	  a	  moment	  to	  think	  about	  	        the	  reach	  this	  guidance	  achieved:	                      ...
Example:	  Our	  ar:sts’	  brand	  Deadmau5	  has	  such	  a	  clear	  and	  recognizable	  brand	  that	  less-­‐engaged	...
Example:	  Build	  a	  brand	  From	  visionaries	  like	  KraMwerk	  and	  Brian	  Eno,	  the	  development	  of	  synth-...
Example:	  Build	  a	  brand	                    Genera:on	  Y	     Rave	  Culture	     Purists	     Electro	  Poppers	  S...
Part	  3:	  Where	  in	  the	  world	  100%$                            (And	  	             	  	  	  	  	  v 	         	 ...
Passion	  for	  different	  genres	  80%70%                                                                                ...
Passion	  for	  different	  genres	                                                                                        ...
Passion	  for	  different	  genres	  90%80%70%                                                                             ...
Passion	  for	  different	  genres	                                                                                        ...
Our	  share	  of	  music	  passion	  around	  the	  world	                       Dance#/#Electronic#passion#as#a#percent#o...
Our	  share	  of	  music	  passion	  around	  the	  world	                            Each grey line is a different countr...
The	  US	  is	  at	  the	  bo]om	  of	  the	  pack	  …	                                      Dance$/$Electronic$passion$as...
…	  the	  UK	  scores	  50%	  be]er	  than	  the	  US	                      Dance$/$Electronic$passion$as$a$percent$of$the...
PassionforDance/ElectronicmusicamongstAllPeopleineachcountry          RankedGbyGpercentGofGpopulation                     ...
PassionforDance/ElectronicmusicamongstAllPeopleineachcountry                RankedGbyGpercentGofGpopulation               ...
PassionforDance/ElectronicmusicamongstAllPeopleineachcountry          RankedGbyGpercentGofGpopulation                     ...
PassionforDance/ElectronicmusicamongstAllPeopleineachcountry          RankedGbyGpercentGofGpopulation                     ...
How mainstream is dance / electronic music?                UK: pretty mainstream. US: still niche                         ...
Which	  dance	  genres	  pop	  and	  where?	                                PercentofUSdancefansthatarepassionateabouteach...
Which	  dance	  genres	  pop	  and	  where?	                                 PercentofUKdancefansthatarepassionateabouteac...
UK-­‐US	  differences	  in	  dance	  genres?	                   T he similarities are bigger                             e ...
Part	  4:	  The	  brand	  image	  of	  dance	                             What	  rejectors	  of	  dance	  think           ...
The	  global	  brand	  image	  of	  dance	                                   Fans        Rejectors                        ...
Beyond	  ‘energe:c’:	  	        countries’	  appreciate	  different	  things	        How one major dance artist is seen in ...
IMS	  Consumer	  Report	  2012	  Summary	     1.  Our	  audience(s):	  Don’t	  forget	  the	  70%	                2.  So	 ...
Take	  the	  data.	  Have	  fun	  with	  it!	                                                 Country-­‐demographic-­‐genr...
Take	  the	  data.	  Have	  fun	  with	  it!	                                                 Country-­‐demographic-­‐genr...
IMS	  Consumer	  Report	  2012	   A	  world	  tour	  of	  dance	  music	  consumers	          Based	  on	  750,000	  inter...
More	  info	  on	  the	  data	  used	  here	  Overview	  §     EMI	   Music	   conducts	   regular,	   high	   quality	  ...
APPENDIX:	  Country-­‐by-­‐country	  	  genre-­‐age	  charts	  	  for	  other	  countries	                                ...
AU90%80%70%                                                                                      ROCK                     ...
BEFL90%80%70%                                                                                        POP60%               ...
NO80%70%                                                                                      POP60%                      ...
NZ90%80%70%                                                                                      ROCK                     ...
DK90%80%70%                                                                                   POP                         ...
ES90%80%                                                                                      POP70%60%                   ...
DE90%80%70%                                                                                      POP60%                   ...
IMS Consumer Report 2012
IMS Consumer Report 2012
IMS Consumer Report 2012
IMS Consumer Report 2012
IMS Consumer Report 2012
IMS Consumer Report 2012
IMS Consumer Report 2012
IMS Consumer Report 2012
IMS Consumer Report 2012
IMS Consumer Report 2012
IMS Consumer Report 2012
IMS Consumer Report 2012
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IMS Consumer Report 2012

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  1. 1. IMS  Consumer  Report  2012   A  world  tour  of  dance  music  consumers   Based  on  750,000  interviews     Note: Dropbox is GREAT for sharing files. screws up the formatting L But it terClick ‘download’ to save this to your compu to see it without the DropBox errors! Page 0
  2. 2. IMS  Consumer  Report  2012   A  world  tour  of  dance  music  consumers   Based  on  750,000  interviews     Page 1
  3. 3. Summary  (1  of  4)    Sec:on  1:  Our  audience(s):  Don’t  forget  the  70%  §  We  think  that  our  audience  has  money,  is  passionate  and  has  =me  to  engage  with  dance  ...  but  actually  only  30%  of   people  passionate  about  dance  /  electronic  music  are  ‘engaged  consumers’  §  70%  of  people  passionate  about  dance  /  electronic  music  are  ‘less  engaged  consumers’:  they  are  either  too  young  to   have  money  /  be  clubbing,  have  children  who  have  got  in  the  way  or  are  just  not  cool  §  We  spend  too  much  of  our  =me  thinking  about  the  30%  who  are  engaged  consumers  and  not  enough  thinking  about   the  70%  who  are  less-­‐engaged  consumers    Sec:on  2:  So  what?  ...  Experiences  §  We  can  be  beIer  at  delivering  experiences.  This  is  mostly  for  the  engaged  consumers,  but  if  we’re  smart  about  it  we   can  also  reach  many  of  the  less-­‐engaged  with  them,  too  ...  Guidance  §  We  need  to  be  beIer  at  delivering  guidance.  This  is  mostly  for  the  less-­‐engaged  consumers  who  desperately  need   guidance  from  trusted  sources  to  avoid  them  losing  contact  with  dance  music   Page 2
  4. 4. Summary  (2  of  4)    Sec:on  3:  Where  in  the  world  §  Note:  all  data  used  in  this  sec=on  will  be  made  available  aMer  Wednesday  here:   hIp://links.emi.com/imsconsumerreport     –  7  high  level  genres,  45  detailed  ‘sub-­‐genres’,  Decade-­‐by-­‐decade  appeal  of  Rock,  Pop,  Dance  /  Electronic   –  By  age,  gender,  age-­‐gender,  all  people.  Metrics:  Millions  of  people  and  percent  of  people   –  Australia,  Belgium  (Flanders  and  Wallonia),  Brazil,  Canada,  Denmark,  Finland,  France,  Germany,  Greece,  India,   Italy,  Japan,  Mexico,  Netherlands,  New  Zealand,  Norway,  Portugal,  South  Africa,  Spain,  Sweden,  UK,  US  §  ...  consistent  themes   –  Passion  grows  from  age  13  to  age  24.  We  should  work  hard  to  get  dance  music  into  the  lives  /  spaces  that  work   for  young  people  to  grow  their  passion  sooner.   –  Passion  peaks  between  ages  16  and  24.  We  should  super-­‐serve  these  people  to  increase  their  engagement  (see   ‘engaged  consumers’  above)   –  There  is  a  steady  decline  in  passion  from  age  25.  We  should  recognise  their  needs  and  meet  their  needs  with   dance  music  to  slow  the  decline  (see  ‘less  engaged  consumers’  above)   –  There  is  a  language  problem.  The  most  popular  dance  genre  amongst  people  passionate  about  dance  /  electronic   music  is  ...  ‘dance’  -­‐  they  don’t  know  how  beIer  to  describe  what  they  like.     Page 3
  5. 5. Summary  (3  of  4)    Sec:on  3:  Where  in  the  world  (con:nued)  §  ...  US   –  Dance  /  electronic  music  has  only  half  the  passion  that  Rock  music  does,  even  for  young  people.  It  has  a  similar   level  of  passion  to  Urban  music.  It  is  rivalled  /  beaten  by  Country  music,  even  for  young  people.   –  The  US  has  liIle  passion  for  dance  (16th  of  17),  it  has  the  most  people  who  are  passionate  (1st  of  17).  A  small   increase  in  passion  would  make  a  big  difference  in  the  number  of  people  who  are  passionate.  Is  that  what  we’ve   seen  in  recent  years:  just  a  small  change  in  passion  that  meant  a  big  new  audience?  §  ...  UK   –  Passion  for  Dance  /  Electronic  music  rivals  that  for  Rock  music  up  to  age  25.  It’s  consistently  more  loved  than   Urban  music.  It  has  no  rivals  beyond  Rock,  Pop  and  Urban.   –  One  of  the  most  passionate  (4th  of  17)  and  biggest  (3rd  of  17):  the  ‘biggest  developed  market’.    §  ...  US  vs  UK   –  The  most  passionate  age  group  (16-­‐24)  are  only  half  as  passionate  (57%)  about  dance  /  electronic  music  as  they   are  about  the  biggest  genre.  In  the  UK  they’re  almost  as  passionate  about  dance  as  they  are  about  the  genre   they’re  most  passionate  about  (87%).     –  There  is  no  evidence  that  dance  is  ‘older’  or  ‘younger’  in  the  UK  or  the  US.  The  paIern  by  age  is  similar  in  the  UK   and  the  US  -­‐  it’s  just  propor=onally  bigger  in  the  UK.     –  In  the  UK  dance  is  preIy  mainstream  (less  engaged  consumers  are  about  75%  as  passionate  about  dance  as  the   engaged  consumers  are)  whereas  in  the  US  it’s  not  very  mainstream  at  all  (less-­‐engaged  consumers  are  only  about   56%  as  passionate  about  dance  as  engaged  consumers  are)   –  Passion  for  the  different  genres  of  dance  music  are  similar  in  the  US  and  the  UK.  Except  for  Drum  n  Bass  which  is   more  popular  in  the  UK.  And  except  for  Techno  because  the  word  is  oMen  used  in  the  US  to  describe  dance  /   electronic  music  overall.   Page 4
  6. 6. Summary  (4  of  4)    Sec:on  4:  The  brand  image  of  dance   –  People  passionate  about  dance  /  electronic  music  describe  it  as:  Cool,  Upbeat,  Energe=c  and  Edgy.   –  People  not  passionate  about  it  describe  it  as:  Boring,  Annoying,  Intrusive,  Superficial  and  Noisy.   –  The  same  ar=st  is  oMen  described  very  differently  in  different  countries.  Always  as  ‘Energe=c’,  but  some=mes  as   Edgy  and  Upbeat  (France),  some=mes  Cool  (Germany,  UK),  some=mes  Catchy  (UK)   Page 5
  7. 7. DANCE   Page 6
  8. 8. We  also          data.    Wait:  What?!?!§  EMI  is  on  the  way  to  a  million  high-­‐quality,  detailed,  interviews     with  all  sorts  of  people  all  around  the  world  about  music   –  Twelve  people  around  the  world  are  being  interviewed  for  EMI     at  any  given  moment.  24h  a  day,  7  days  a  week  §  We  love  how  helpful  the  results  are,  alongside  skills  and  judgement   –  Hear  the  data’s  challenges  and  be  smart  about  which  /  how  you  go  get  them  §  We’d  like  to  share  some  of  that  today  (and  every  year  …  if  you  like  it)   –  This  presenta:on  and  the  detailed  data  behind  it  will  be  online  for  you.  We   hope  you  find  other  pa]erns  and  uses  for  it.  Please  share!   Page 7
  9. 9. IMS  Consumer  Report  2012  Agenda   1.  Our  audience(s)   2.   So  what?     The  role  of  experiences   The  role  of  guidance   3.  Where  in  the  world   Page 8
  10. 10. Part  1:  Our  audience   Page 9
  11. 11. our  audience:   Self-definedPeople  who  like  a  lot  or  love  dance  /  electronic  music   Page 10
  12. 12. We THINK our  audience:   this is Page 11
  13. 13. … butactually … our  audience:   People  who  like  a  lot  or  love  dance  /  electronic  music  100% 100% I enjoy music primarily Paid for digital80% from going out to dance 80% music often or60% Music for me is all about 60% nightlife and going out 6%   12%  40% 40%20% 20%0% 0% Page 12
  14. 14. … butactually … our  audience:   People  who  like  a  lot  or  love  dance  /  electronic  music   In  the  last  year:   34%   been  to  a     club  with     guest  DJs  26%   been  to  an     electronic     /  dance  fesAval   Page 13
  15. 15. … butactually … our  audience:   People  who  like  a  lot  or  love  dance  /  electronic  music   in  the  last  year:  58%   34%   been  to  a     been  to  a     regular   club  with     club  night   guest  DJs  26%   15%   been  to  an     been  abroad     electronic     for  music     /  dance  fesAval   (e.g.  Ibiza)   Page 14
  16. 16. … butactually … our  audience:   People  who  like  a  lot  or  love  dance  /  electronic  music   2%   7%   10%   Page 15
  17. 17. 30%  of  our  audience:   Page 16
  18. 18. our  audience:   We s pend too much of our timeon ‘products ’ and marketing for this group Page 17
  19. 19. 70%  of  our  audience:   Page 18
  20. 20. 70%  of  our  audience:   Page 19
  21. 21. our  audience:   People  who  like  a  lot  or  love  dance  /  electronic  music   58%   Music is important to me,but not more than other interests 60%   Pop music is fun, it makes me feel good or I like music, but it does not feature heavily in my life Page 20
  22. 22. 70%  of  our  audience:   We don’t spend nearly enough of our time on ‘products’ and marketing for this group Page 21
  23. 23. Part  2:  So  what?   Page 22
  24. 24. 30%  Engaged   70%  Less-­‐engaged   Page 23
  25. 25. 30%  Engaged   70%  Less-­‐engaged   Change the balanc e, depending on the consumers Don’t forget guidance you’re after Focused on Focused on Engaged Less-engaged Consumers consumers em!) (but not only th (but not only them!) Page 24
  26. 26. 5  Examples   §  Gedng  consumers  closer  to  the  lifestyle.   Swedish  House  Mafia’s  Take  One   §  From  ‘live’  to  an  experience  to  die  for.   Swedish  House  Mafia’s  Masquerade  Motel   §  Bringing  Live  to  the  Mainstream.   Deadmau5’s  Earl’s  Court  USB   §  Engaging  fans  online.  Deadmau5   §  Merch  that  fits  the  lifestyle.  Pacha   Page 25
  27. 27. Gedng  consumers  closer  to  the  lifestyle    with  Swedish  House  Mafia’s  Take  One  Every  type  of  consumer  found  Take  One  in  a  way  that  works  for  them:  exclusive  cinema  screenings,  on  TV,  internet  exclusives,  in  the  deluxe  album,  as  an  iPad  app  and  in  book  form.     We don’t usually reach so many different types of consumer with one set of ‘assets’ Page 26
  28. 28. From  ‘live’  to  an  experience  to  die  for     with  Swedish  House  Mafia’s  Masquerade  Motel  Swedish  House  Mafia  took  a  residency  in  Ibiza’s  Pacha  nightclub  to  another  level  with  the  branding  and  mys=que  of  Masquerade  Motel.  It  became  more  than  ‘live’,  more  than  clubbing.  It  became  it’s  own  event,  that  they  took  on  tour  to  Miami,  London  and  elsewhere.     We don’t usually make ‘live’ in to such an experience Page 27
  29. 29. Bringing  Live  to  the  Mainstream    with  Deadmau5’s  Earl’s  !Court  USB  Deadmau5  carved  out  a  special  sec=on  of  his  Earl’s  Court  gig  to  play  his  own  material  so  that  we  controlled  the  rights  to  record  it  and  make  it  available  to  people  on  his  iconic  U5B  s=cks  along  with  other  exclusive  content.   !! We don’t usually let people experience gigs without being there Page 28
  30. 30. Engaging  fans  online    Deadmau5  It  takes  a  special  ar=st  to  want  to  let  fans  close  the  way  Deadmau5  does.  His  Facebook  feed  is  one  of  the  most  engaging.  By  following  it  you  feel  closer  to  him  and  his  music.  You  get  to  know  him  and  he  gets  to  know  his  fans  by  constantly  engaging  them  and  sharing  their  comments  and  contribu=ons.   We don’t u engage o sually really ur online fans Page 29
  31. 31. Merch  that  fits  the  lifestyle    Pacha  Their  merch  range  recognises  that:  1.  People  want  to  make  dance  part  of   their  lifestyle,  outside  clubs  /  music  2.  Many  consumers  have  aged,  have   children,  but  s=ll  want  to  express   themselves  through  their  Pleasure-­‐ Seeker  days   We often don’t think beyond tshirts Page 30
  32. 32. 5  Examples   §  Compila:on  ‘brands’   §  Brand  partnerships   §  Other  ar:st  brands   §  Our  ar:sts’  brand   §  Build  a  brand   Page 31
  33. 33. Example:  Compila:on  ‘brands’   Page 32
  34. 34. Example:  Brand  partnerships     Brands  have  enormous  reach:   How does that 1,000,000,000   compare to the number of people listening to cans  of  Coke  are  drunk   your music? every  day   Page 33
  35. 35. Example:  Brand  partnerships     But  pick  appropriate  brands   Page 34
  36. 36. Example:  Brand  partnerships     as made. A movie of David Guetta’s story w it. 15 million people have seen Thanks to Burn Page 35
  37. 37. Example:  Brand  partnerships     +   Research:   85%  of  fans  felt     it  would  enhance     ?   their  percep:on  of  David     In a couple of weeks we’d asked thousands of David Guetta’s fans in four countries what they thought. Getting the right partnership for the artist and the brand is key Page 36
  38. 38. Example:  Other  ar:st  brands   Page 37
  39. 39. Page 38
  40. 40. Let’s  take  a  moment  to  think  about     the  reach  this  guidance  achieved:   David  Gue]a:     32,442,691  likes   x9 Collaborators:     284,922,169     (each offered guidance to a different audience in different genres from a different trusted source)Based  on  collaborators  from  the  last  two  albums:  Kelly  Rowland  (1,933k),  Fergie  (6,212k),  LMFAO  (17,288k),  will.i.am  (3,089k),  Rihanna  (56,043k),  Ne  -­‐  Yo  (8,100k),  Dirty  South  (132k),  Estelle  (165k),  Nicki  Minaj  (19,027k),  Taio  Cruz   Page 39(7,371k),  Ludacris  (4,556k),  Snoop  (18,046k),  Lil  Wayne  (37,918k),  Usher  (30,417k),  Akon  (39,237k),  Tibaland  (2,418k),  Chris  Brown  (21,703k),  Jennifer  Hudson  (3,949k),  Jessie  J  (6,836k),  Sia  (482k)  
  41. 41. Example:  Our  ar:sts’  brand  Deadmau5  has  such  a  clear  and  recognizable  brand  that  less-­‐engaged  consumers  can  easily  remember  him  and  have  something  to  iden=fy  him  by.      But  an  ar=st’s  brand  is  not  just  about  imagery.  Whats  the  story?     Most artists don’t have a brand that fans can remember Page 40
  42. 42. Example:  Build  a  brand  From  visionaries  like  KraMwerk  and  Brian  Eno,  the  development  of  synth-­‐pop  stars  like  Depeche  Mode  and  Human  League,  the  explosion  of  dance  music  culture  in  the  late  80’s  to  the  rise  of  global  superstars  like  DaM  Punk  and  David  GueIa  During  2012  we  will  reach  out  to  all  fans  of  Electronic  Music  with  an  ambi=ous  campaign  Over  500  albums  will  be  featured,  between  them  having  sold  119,000,000  copies    We  have  developed  products  and  promo=ons  targeted  at  specific  consumers  groups,  be  they  cuqng  edge  tastemakers  or  lapsed  fans.  Fans  will  be  engaged  by  a  variety  of  trade  marke=ng  assets,  price  campaigns,  via  devoted  social  media  channels,  commercial  partnerships  and  compe==ons     Page 41
  43. 43. Example:  Build  a  brand   Genera:on  Y   Rave  Culture   Purists   Electro  Poppers  Size  Spend  Typical    album  Targeted  Media  Product   Page 42
  44. 44. Part  3:  Where  in  the  world  100%$ (And              v        )   US$ 87% 80%$ UK# 71% 62% 60%$ 59% 57%$ 48%$ 43%$ US# 45%$ 46% 40%$ 31% 28%$ 24%$ 21% 20%$ 20%$ 0%$ 13$to$15$ 16$to$24$ 25$to$34$ 35$to$44$ 45$to$54$ 55$to$64$ 65+$ Page 43
  45. 45. Passion  for  different  genres  80%70% ROCK60% POP50% CLASSICAL40% ROCK BLUES&/&JAZZ&/&SOUL BLUES&/&JAZZ&/&SOUL30% POP CLASSICAL20% URBAN10% URBAN0% 13 to 15 16 to 20 21 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people Page 44
  46. 46. Passion  for  different  genres   e: of danc The state n80% he passio Only half t op p ock / st70% of r ong (ev en am ple) ROCK peo60% COUNTRY youngPOP n passio50% CLASSICAL ar SimilCOUNTRY an40% ROCK BLUES&/&JAZZ&/&SOUL t o Urb en / beat Rivaled ntry BLUES&/&JAZZ&/&SOUL30% POP u CLASSICAL by Co/ ELECTRONICst ong en am ple) DANCE20% (ev peo DANCE / ELECTRONIC young10%0% 13 to 15 16 to 20 21 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people Page 45
  47. 47. Passion  for  different  genres  90%80%70% CLASSICAL POP ROCK60% COUNTRY50% ROCK POP BLUES./.JAZZ./.SOUL40% CLASSICAL DANCE / ELECTRONIC BLUES./.JAZZ./.SOUL30% COUNTRY URBAN20% DANCE / ELECTRONIC10% URBAN0% 13 to 15 16 to 20 21 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people Page 46
  48. 48. Passion  for  different  genres   e: of danc The state90% n he passio80% R ivals t / pop ck of ro ge 25 a up to POP70% CLASSICAL tly ROCK sisten60% Con COUNTRY ved m ore lo n ba50% ROCK POP BLUES./.JAZZ./.SOUL th an Ur ond40% CLASSICAL a ls bey No riv op DANCE / ELECTRONIC BLUES./.JAZZ./.SOUL p rock, an30% COUNTRY rb and u URBAN20% DANCE / ELECTRONIC10% URBAN0% 13 to 15 16 to 20 21 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people Page 47
  49. 49. Our  share  of  music  passion  around  the  world   Dance#/#Electronic#passion#as#a#percent#of#the#most#popular#genre# Each grey line is a different country 100%# 80%# 60%# 40%# 20%# 0%# 13#to#15# 16#to#24# 25#to#34# 35#to#44# 45#to#54# 55#to#64# 65+# Page 48
  50. 50. Our  share  of  music  passion  around  the  world   Each grey line is a different country Clear peak at 16-24 Super-serve them to increase the peak Steady decline Meet their needs to slow decline Growing passion Grow it quicker! In their world, Average social spaces Page 49
  51. 51. The  US  is  at  the  bo]om  of  the  pack  …   Dance$/$Electronic$passion$as$a$percent$of$the$most$popular$genre$ Dance / Electronic passion as a percent of the most popular genre Each grey line is a different country US$ 100%$ ar 80%$ Dance is only about half as popul as the most popular genre The opportunity for growth 60%$ 57%$ 48%$ FAR outweighs any recent achievements 45%$ 43%$ 40%$ 28%$ 24%$ Avg$ 20%$ 20%$ 0%$ 13$to$15$ 16$to$24$ 25$to$34$ 35$to$44$ 45$to$54$ 55$to$64$ 65+$ Page 50Note: Based on 12,000 interviews in January 2012
  52. 52. …  the  UK  scores  50%  be]er  than  the  US   Dance$/$Electronic$passion$as$a$percent$of$the$most$popular$genre$ Dance / Electronic passion as a percent of the most popular genre US$ almost the Each grey line is a different country Dance is100%$ ! most po pular genre e’ Same ‘shap 87% 80%$ as the US! er ounger’ / ‘old 71% 60%$ 62% Not ‘y 59% 57%$ 48%$ 45%$ 46% 43%$ 40%$ 31% 28%$ 24%$ Avg$ 20%$ 20%$ 21% 0%$ 13$to$15$ 16$to$24$ 25$to$34$ 35$to$44$ 45$to$54$ 55$to$64$ 65+$ Page 51
  53. 53. PassionforDance/ElectronicmusicamongstAllPeopleineachcountry RankedGbyGpercentGofGpopulation RankedGbyGmillionsGofGpeople The  most  passionate  dance  markets   1st 42%G BEFL US G64GG 1st 2nd 40%G NZ DE G22GG 2nd The  biggest  dance  markets   3rd 38%G CA UK G20GG 3rd 4th 38%G UK FR G19GG 4th 5th 36%G BEWA JP G17GG 5th 6th 36%G ES IT G15GG 6th 7th 35%G SE ES G14GG 7th 8th 35%G DK CA G12GG 8th 9th 34%G FR AU G6GG 9th 10th 33%G NO NL G4GG 10th 11th 33%G NL SE G3GG 11th 12th 32%G AU BEFL G2GG 12th 13th 30%G DE DK G2GG 13th 14th 29%G IT NO G2GG 14th 15th 29%G FI FI G2GG 15th 16th 25%G US BEWA G1GG 16th 17th 11%G JP NZ G1GG 17th Page 52
  54. 54. PassionforDance/ElectronicmusicamongstAllPeopleineachcountry RankedGbyGpercentGofGpopulation RankedGbyGmillionsGofGpeople 1st 42%G BEFL US G64GG 1st 2nd 40%G NZ DE G22GG 2nd 3rd 38%G CA UK G20GG 3rd 4th 38%G UK FR G19GG 4th 5th 36%G BEWA JP G17GG 5th 6th 36%G ES IT G15GG 6th 7th 35%G SE ES G14GG 7th 8th 35%G DK CA G12GG 8th 9th 34%G FR AU G6GG 9th 10th 33%G NO NL G4GG 10th 11th 33%G NL SE G3GG 11th 12th 32%G AU BEFL G2GG 12th 13th 30%G DE DK G2GG 13th 14th 29%G IT NO G2GG 14th 15th 29%G FI FI G2GG 15th 16th 25%G US BEWA G1GG 16th 17th 11%G JP NZ G1GG 17th Page 53Note: more countries are available. But can’t be compared directly because of differences in the research
  55. 55. PassionforDance/ElectronicmusicamongstAllPeopleineachcountry RankedGbyGpercentGofGpopulation RankedGbyGmillionsGofGpeople Li]le  passion,     1st 42%G BEFL US G64GG 1st 2nd 40%G NZ DE G22GG 2nd 3rd 38%G but  the  biggest     CA UK A sm a G20GG ll incre 3rd 4th 38%G market   UK FR G19GG in passio ase 4th n 5th 36%G BEWA JP G17GG will go 5th a LON G wa 6th 36%G ES IT G15GG 6th 7th 35%G SE ES G14GG y7th Is that w 8th 35%G DK CA G12GG seen in hat we’v 8th recent y 9the 9th 34%G FR AU G6GG (Small in ears? 10th 33%G NO NL G4GG crease?) 10th 11th 33%G NL SE G3GG 11th 12th 32%G AU BEFL G2GG 12th 13th 30%G DE DK G2GG 13th 14th 29%G IT NO G2GG Less-engaged14th 15th 29%G FI FI G2GG only half 15th 16th 25%G US BEWA G1GG as passionate16th 17th 11%G JP NZ G1GG as engaged 17th Page 54
  56. 56. PassionforDance/ElectronicmusicamongstAllPeopleineachcountry RankedGbyGpercentGofGpopulation RankedGbyGmillionsGofGpeople 1st 42%G BEFL US G64GG 1st 2nd 40%G NZ DE G22GG 2nd 3rd 38%G CA UK G20GG 3rd 4th 38%G UK FR G19GG 4th 5th 36%G BEWA JP G17GG 5th 6th 36%G ES IT G15GG 6th 7th 35%G SE ES G14GG 7th 8th 35%G Passion  and  size:     DK CA G12GG 8th 9th 34%Gthe  ‘biggest   FR AU G6GG 9th 10th developed’  market   33%G NO NL G4GG 10th rs onsume12th 11th 33%G NL SE G3GG 11th c 12th 32%G AU BEFL ngaged e Less-eG2GG as passionat13th G2GG almost ance music 14th 13th 30%G DE DK abG2GGut d consume15th o rs 14th 29%G IT NO G2GG engaged 15th 29%G FI FI 16th 25%G US as BEWA G1GG 16th 17th 11%G JP NZ G1GG 17th Page 55
  57. 57. How mainstream is dance / electronic music? UK: pretty mainstream. US: still niche How$passionate$are$mainstream$consumers$about$Dance$/$Electronic$ (as$%$of$how$passionate$engaged$consumers$are)$ 87%$ 86%$ 83%$ 79%$ 78%$ 74%$ 74%$ 72%$ umers 69%$ gaged cons 67%$ 66%$ 65%$ 64%$Less-en ate as passion 57%$ 56%$ 55%$ almost sic abou t dance mu Less-engaged mers as eng aged consu only half as passionate as engaged DK$ BEFL$ BEWA$ ES$ CA$ UK$ NO$ SE$ NZ$ FR$ FI$ DE$ NL$ AU$ US$ JP$ Most Mainstream Least mainstream (Less-engaged are (Less-engaged are asalmost as passionate as half as passionate as engaged consumers!) engaged consumers!) Page 56
  58. 58. Which  dance  genres  pop  and  where?   PercentofUSdancefansthatarepassionateabouteachsub4genre90%& The total is nce’, ain’t it?” more interesting type? I don’t know. Just ‘da than the age breakdown80%& “what70%& Dance&60%& Dubstep is Language50%& the most targeted Techno& Electronic&40%& House&30%& Drum&n&Bass& Dubstep& Trance&20%& Hardcore&/&Hard&Dance&10%& 0%& 13&to&15& 16&to&24& 25&to&34& 35&to&44& 45&to&54& 55&to&64& 65+& All&people& Page 57
  59. 59. Which  dance  genres  pop  and  where?   PercentofUKdancefansthatarepassionateabouteachsub4genre90%& The total is Just ‘dance’, isn’t it?” more interesting “what type? I don’t know. than the age breakdown80%&70%& Dance&60%& Dubstep, Drum n Bass50%& very targeted Electronic&40%& Drum&n&Bass& House&30%& Techno& Trance& Dubstep&20%& Hardcore&/&Hard&Dance&10%& 0%& 13&to&15& 16&to&24& 25&to&34& 35&to&44& 45&to&54& 55&to&64& 65+& All&people& Page 58
  60. 60. UK-­‐US  differences  in  dance  genres?   T he similarities are bigger e differences than thDance&genres&amongst&All&People& US$ UK$ 68%$ 67%$ 52%$ 46%$ 42%$ 40%$ 36%$ 36%$ 31%$ 25%$ 25%$ 25%$ 22%$ 21%$ 19%$ 18%$ Dance& Electronic& Drum&n&Bass& Dubstep& Hardcore&/& House& Trance& Techno& Hard&Dance& Page 59
  61. 61. Part  4:  The  brand  image  of  dance   What  rejectors  of  dance  think Page 60
  62. 62. The  global  brand  image  of  dance   Fans Rejectors Page 61Note: Based on research in ten countries
  63. 63. Beyond  ‘energe:c’:     countries’  appreciate  different  things   How one major dance artist is seen in different countries Page 62Note: we research many artists signed to other labels as well as EMI artists. Please don’t try to guess who this is!
  64. 64. IMS  Consumer  Report  2012  Summary   1.  Our  audience(s):  Don’t  forget  the  70%   2.  So  what?     The  role  of  experiences:  five  examples   The  role  of  guidance:  four  examples   3.  Where  in  the  world:  country-­‐by-­‐country     (focus  on  US  vs  UK)   Page 63
  65. 65. Take  the  data.  Have  fun  with  it!   Country-­‐demographic-­‐genre  data  online:   hIp://links.emi.com/imsconsumerreport  Please  share  what  you  do  with  it!  And  please  shout  if  you  want  other  data  or  if  we  can  help  with  other  research.  david.boyle@emimusic.com   PassionforDance/ElectronicmusicamongstAllPeopleineachcountry RankedHbyHpercentHofHpopulation RankedHbyHmillionsHofHpeople 1st 53%H ZA US H64HH 1st 2nd 42%H BEFL DE H22HH 2nd 3rd 41%H GR UK H20HH 3rd 4th 40%H NZ FR H19HH 4th 5th 38%H CA JP H17HH 5th 6th 38%H UK IT H15HH 6th 7th 36%H BEWA ES H14HH 7th 8th 36%H ES CA H12HH 8th 9th 35%H SE AU H6HH 9th 10th 35%H DK NL H4HH 10th 11th 34%H FR ZA H4HH 11th 12th 33%H NO SE H3HH 12th 13th 33%H NL GR H3HH 13th 14th 32%H AU BEFL H2HH 14th 15th 30%H DE DK H2HH 15th 16th 29%H IT NO H2HH 16th 17th 29%H FI FI H2HH 17th 18th 25%H US BEWA H1HH 18th 19th 11%H JP NZ H1HH 19th Please contact david.boyle@emimusic.com for more info on the data or to share what you have done with it. Page 64
  66. 66. Take  the  data.  Have  fun  with  it!   Country-­‐demographic-­‐genre  data  online:   hIp://links.emi.com/imsconsumerreport  Please  share  what  you  do  with  it!  And  please  shout  if  you  want  other  data  or  if  we  can  help  with  other  research.  david.boyle@emimusic.com   Decade-­‐by-­‐decade  appeal  of   7  high  level  genres   Rock,  Pop,  Dance  /  Electronic   45  detailed  ‘sub-­‐genres’   By age, gender, age-gender, all people Australia,  Belgium-­‐Flanders,  Belgium-­‐Wallonia,  Brazil,  Canada,  Denmark,  Finland,   France,  Germany,  Greece,  India,  Italy,  Japan,  Mexico,  Netherlands,  New  Zealand,   Norway,  Portugal,  South  Africa,  Spain,  Sweden,  UK,  US   Metrics:  Millions  of  people  and  percent  of  people   Please contact david.boyle@emimusic.com for more info on the data or to share what you have done with it. Page 65
  67. 67. IMS  Consumer  Report  2012   A  world  tour  of  dance  music  consumers   Based  on  750,000  interviews     Page 66
  68. 68. More  info  on  the  data  used  here  Overview  §  EMI   Music   conducts   regular,   high   quality   online   interviews   with   people   around   the   world.   We   have   over   750,000   interviews   at   the   moment   and   are   heading  rapidly  towards  a  million.  The  interviews  were  conducted  online,  but  EMI  tries  to  reach  people  as  representa=ve  of  the  overall  popula=on  as   possible.   This   usually   works   preIy   well.   But   in   some   countries,   this   isnt   possible   and   the   interviews   arent   as   representa=ve   as   wed   like   (ZA,   GR   for   example)  More  info  on  the  data  §  EMI   has   been   conduc=ng   large,   regular   online   interviews   of   consumers   since   early   in   2009.   These   interviews   have   helped   to   drive   EMI’s   deep   understanding  of  the  music  industry  and  has  deeply  touched  how  we’ve  helped  our  ar=sts  around  the  world  and  at  all  levels  over  that  =me.  By  really   understanding  the  music  market  we  have  beIer  understood  how  to  help  our  ar=sts  to  be  successful  in  those  markets.  By  having  rich  data  available  we   have  been  able  to  help  more  ar=sts  more  quickly,  accurately  and  globally  that  we  would  otherwise  have  been  able  to.  EMI  has  become  very  good  at  using   this  data  alongside  its  skills  and  judgement  to  make  decisions.  Geqng  that  balance  right  is  difficult  in  any  industry  and  especially  in  music.  §  This  report  aims  to  share  some  of  the  key  data  from  those  interviews  to  enable  others  to  benefit  and  in  the  hope  that  many  eyes  will  bring  new  insights.  The  online  research  is:  §  High  quality:  since  research  agencies  were  used  to  iden=fy  high  quality  respondents  and  to  filter  out  people  not  taking  the  interview  seriously  §  Detailed:  across  the  approximately  twenty  minutes,  we  cover  a  very  wide  range  of  music-­‐related  issues,  aqtudes  and  behaviours  §  Interes:ng:  all  the  ques=ons  were  scripted  by  EMI  and  so  almost  every  issue  and  ques=on  that  was  on  our  mind  made  it  into  a  survey  at  some  point  §  Global:  Data  is  available  in  Australia,  Belgium,  Brazil,  Canada,  Germany,  Denmark,  Spain,  Finland,  France,  Greece,  India,  Italy,  Japan,  Mexico,  Netherlands,   Norway,  New  Zealand,  Portugal,  Saudi  Arabia,  Sweden,  UK,  US,  South  Africa  §  Large:  each  research  project  has  a  minimum  of  3,000  interviews  and  usually  has  5,000  in  big  countries.  Some  have  more  than  10,000  interviews  Subjects  covered  §  This  data  set  covers  consumers  passion  for  genres  of  music.  But  in  the  larger  data  set  we  have  literally  covered  every  subject  we  thought  interes=ng  to   the  music  industry  overall  (not  just  the  recorded  music  industry).  Some  of  the  subjects  covered  include:   –  Demographics,  life  stage,  educa=on,  geography,  …   –  Interest  and  passion  for  music  overall  and  by  genre  and  sub-­‐genre   –  Aqtudes  and  behaviours  regarding  music  discovery,  engagement  and  consump=on.  E.g.  piracy,  streaming,  CDs,  YouTube,  …   –  Media  consump=on  and  what’s  useful  for  music  discovery.  E.g.  radio,  music  magazines,  blogs,  social  networking,  twiIer,  ...     –  Awareness,  apprecia=on  and  engagement  with  specific  ar=sts   –  Apprecia=on,  familiarity  and  brand  percep=on  for  specific  pieces  of  music  and  videos   Page 67
  69. 69. APPENDIX:  Country-­‐by-­‐country    genre-­‐age  charts    for  other  countries   Page 68
  70. 70. AU90%80%70% ROCK POP60%50%40% COUNTRY CLASSICAL BLUES / JAZZ / SOUL DANCE / ELECTRONIC30% URBAN20% OTHER10%0% 13 to 15 16 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people Page 69
  71. 71. BEFL90%80%70% POP60% ROCK50% DANCE / ELECTRONIC40% CLASSICAL BLUES / JAZZ / SOUL30% OTHER COUNTRY URBAN20%10%0% 13 to 15 16 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people Page 70
  72. 72. NO80%70% POP60% ROCK50%40% CLASSICAL COUNTRY DANCE//JAZZ / SOUL BLUES ELECTRONIC30% OTHER20% URBAN10%0% 13 to 15 16 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people Page 71
  73. 73. NZ90%80%70% ROCK POP60%50% COUNTRY40% CLASSICAL / SOUL DANCE//JAZZ BLUES ELECTRONIC30% OTHER URBAN20%10%0% 13 to 15 16 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people Page 72
  74. 74. DK90%80%70% POP ROCK60%50%40% CLASSICAL COUNTRY BLUES //JAZZ / SOUL DANCE ELECTRONIC30% OTHER20% URBAN10%0% 13 to 15 16 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people Page 73
  75. 75. ES90%80% POP70%60% ROCK50% CLASSICAL40% DANCE / ELECTRONIC BLUES / JAZZ / SOUL30% COUNTRY OTHER20% URBAN10%0% 13 to 15 16 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people Page 74
  76. 76. DE90%80%70% POP60% ROCK50%40% CLASSICAL30% DANCE / ELECTRONIC COUNTRY BLUES / JAZZ / SOUL OTHER20% URBAN10%0% 13 to 15 16 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people Page 75

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