“Average” person goes to 1-2 concerts per year Super Fan – shifting time nad money
New – up to 8 weeks old (2 mos) Recent: 8-78 weeks old (2 mos to 18 mos) Catalog: 78-156 weeks old (18 mos to 3 years) Deep Catalog: more than 156 weeks old (3 years)
Algorithms tracking human curation -- Spotify tracking influential users' playlists, blogs, etc.,…plus extensive individual human curation
Competitive advantage? Increasing benefits to scale, both on Splinternets AND for AEG, LiveNation, and Ticketmaster Who is “responsible”? Artist/manager/agent? Venue/promoter?
Preventive? Security in some cases using facial recognition, etc.
8MM Echoes sold through January
How Streaming Influences Concert Choices and Music Consumption - MIRA 2017
How Streaming Influences
Concert Choices and Music
Gigi Johnson, EdD
Executive Director, UCLA Center for Music Innovation
UCLA Herb Alpert School of Music
CMI’s Question: How Artists can live/thrive
on .2-.8 cents per stream -- before splitting
up the results?
“We will make it up in Volume.”
“We will make it up in Live
What are future trends?
UCLA is Asking This Question
in Los Angeles
How is Streaming affecting live venues,
performances, and communities?
40+ interviews into a study across the region
Music streaming is negatively impacting small
venue live performance revenue as a substitute
good in competition for both time and money
•No and Yes
•Not that simple
Music Cities: Other Research on Local
Music City? Music Cities in a City?
• How does this differ by demographic? Venue size? Our own study --
at about 40 interviews and finding differences by venue type, genres,
fan ages, etc. Kpop and Latin -- very different than EDM.
• Tracking and data for interventions -- what are we tracking as a
starting point? How to measure a venue/venues? Seats? Capacity
utilization? How do we track shifts across a city? LA: Shifts to
downtown, Chinatown, further west -- if/how measured?
Who is Coming to Concerts?
Source: Ticketmaster Live Analytics,
2014 Data, via SlideShare
“…the top 1% of live artists
(many of whom are aging
heritage acts) account for 68%
of all live revenue.”
How are fans making
decisions on how and
where to enjoy live
music? WHO is doing
How does this impact
venues and local music
How are venues changing
(or not changing) the
content and experience in
light of streaming?
Source: Nielsen Total Audience 3Q 2016
Smartphone: Expanding Media
an Hour a Day since 2014
Making It Up in Volume?
US Recorded Music, Cume Album Equivalents
CD Unit Sales Digital Album Sales DDL/10
Audio Streams/1500 Video Streams/1500
New – up to 8 weeks old (2 mos)
Recent: 8-78 weeks old (2 mos to 18 mos)
Catalog: 78-156 weeks old (18 mos to 3 years)
Deep Catalog: more than 156 weeks old (3 years)
Discovery? Or Reminding You of What You Love?
Volume for Whom?
Challenge of Recall and Attention:
42% of Streams for 5,000 Tracks
Streaming Music: Connected Music, People,
Connecting = The New Curation
Music + Data +
Playlist as the New
YESTERDAY – but
WHO knows? Who
owns that info?
WE are the Product
vs. the Song
TSL All Music Listening
Source: MusicWatch Inc.
How We Ask . . . Even Now . . . Marketing Into
Bots and Natural Language Processing
Retail is Rethinking:
What is a Great Live Experience?
Not Just Live Music:
Meanwhile, Dramatic Shifts in Retail
And Mobile Reading Live Experience:
Adding to Where You Are: Computer Vision
and AR in RL
Playlists as the New
How can/should Venues
engage with the New
Curators and Systems?
UCLA Center for Music Innovation
Gigi Johnson, EdD
“Innovating Music” Podcast