via http://www.internationalmusicsummit.com/ims-consumer-report-2012

1. IMS
Consumer
Report
2012
A
world
tour
of
dance
music
consumers
Based
on
750,000
interviews
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ter
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Page 0

2. IMS
Consumer
Report
2012
A
world
tour
of
dance
music
consumers
Based
on
750,000
interviews
Page 1

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. 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. 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. 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. DANCE
Page 6

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. 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. Part
1:
Our
audience
Page 9

11. our
audience:
Self-defined
People
who
like
a
lot
or
love
dance
/
electronic
music
Page 10

12. We THINK our
audience:
this is
Page 11

13. … but
actually … our
audience:
People
who
like
a
lot
or
love
dance
/
electronic
music
100% 100%
I enjoy music primarily Paid for digital
80% from going out to dance 80% music often
or
60% Music for me is all about 60%
nightlife and going out
6%
12%
40% 40%
20% 20%
0% 0%
Page 12

14. … but
actually … 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. … but
actually … 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. … but
actually … our
audience:
People
who
like
a
lot
or
love
dance
/
electronic
music
2%
7%
10%
Page 15

17. 30%
of
our
audience:
Page 16

18. our
audience:
We s pend too much
of our time
on ‘products ’ and marketing
for this group
Page 17

19. 70%
of
our
audience:
Page 18

20. 70%
of
our
audience:
Page 19

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. 70%
of
our
audience:
We don’t spend
nearly enough of our time
on ‘products’ and marketing
for this group
Page 21

23. Part
2:
So
what?
Page 22

24. 30%
Engaged
70%
Less-­‐engaged
Page 23

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. 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. 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. 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. 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. 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. 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. 5
Examples
§ Compila:on
‘brands’
§ Brand
partnerships
§ Other
ar:st
brands
§ Our
ar:sts’
brand
§ Build
a
brand
Page 31

33. Example:
Compila:on
‘brands’
Page 32

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. Example:
Brand
partnerships
But
pick
appropriate
brands
Page 34

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. 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. Example:
Other
ar:st
brands
Page 37

39. Page 38

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. 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.
What's
the
story?
Most artists
don’t have a brand
that fans can remember
Page 40

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. Example:
Build
a
brand
Genera:on
Y
Rave
Culture
Purists
Electro
Poppers
Size
Spend
Typical
album
Targeted
Media
Product
Page 42

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. Passion
for
different
genres
80%
70%
ROCK
60%
POP
50%
CLASSICAL
40% ROCK
BLUES&/&JAZZ&/&SOUL
BLUES&/&JAZZ&/&SOUL
30% POP CLASSICAL
20% URBAN
10%
URBAN
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 44

46. Passion
for
different
genres
e:
of danc
The state
n
80%
he passio
Only half t op
p
ock / st
70%
of r ong
(ev en am ple)
ROCK
peo
60% COUNTRY
youngPOP
n
passio
50%
CLASSICAL ar
SimilCOUNTRY
an
40% ROCK
BLUES&/&JAZZ&/&SOUL t o Urb
en
/ beat
Rivaled ntry
BLUES&/&JAZZ&/&SOUL
30% POP
u
CLASSICAL
by Co/ ELECTRONICst
ong
en am ple)
DANCE
20%
(ev peo
DANCE / ELECTRONIC
young
10%
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. Passion
for
different
genres
90%
80%
70% CLASSICAL
POP
ROCK
60%
COUNTRY
50%
ROCK
POP
BLUES./.JAZZ./.SOUL
40% CLASSICAL
DANCE / ELECTRONIC
BLUES./.JAZZ./.SOUL
30% COUNTRY
URBAN
20%
DANCE / ELECTRONIC
10%
URBAN
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 46

48. Passion
for
different
genres
e:
of danc
The state
90%
n
he passio
80%
R ivals t / pop
ck
of ro ge 25
a
up to POP
70% CLASSICAL
tly
ROCK
sisten
60%
Con
COUNTRY
ved
m ore lo n
ba
50%
ROCK
POP
BLUES./.JAZZ./.SOUL th an Ur
ond
40% CLASSICAL
a ls bey
No riv op
DANCE / ELECTRONIC
BLUES./.JAZZ./.SOUL
p
rock, an
30% COUNTRY
rb
and u
URBAN
20%
DANCE / ELECTRONIC
10%
URBAN
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 47

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. 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. 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 50
Note: Based on 12,000 interviews in January 2012

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 is
100%$
!
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. Passion'for'Dance'/'Electronic'music'amongst''All'People''in'each'country
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. Passion'for'Dance'/'Electronic'music'amongst''All'People''in'each'country
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 53
Note: more countries are available. But can’t be compared directly because of differences in the research

55. Passion'for'Dance'/'Electronic'music'amongst''All'People''in'each'country
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. Passion'for'Dance'/'Electronic'music'amongst''All'People''in'each'country
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. 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 as
almost as passionate as half as passionate as
engaged consumers!) engaged consumers!)
Page 56

58. Which
dance
genres
pop
and
where?
Percent'of'US'dance'fans'that'are'passionate'about'each'sub4genre'
90%&
The total is
nce’, ain’t it?” more interesting
type? I don’t know. Just ‘da
than the age breakdown
80%& “what
70%&
Dance&
60%&
Dubstep is Language
50%& 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. Which
dance
genres
pop
and
where?
Percent'of'UK'dance'fans'that'are'passionate'about'each'sub4genre'
90%&
The total is
Just ‘dance’, isn’t it?” more interesting
“what type? I don’t know.
than the age breakdown
80%&
70%&
Dance&
60%&
Dubstep, Drum
n Bass
50%&
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. 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. Part
4:
The
brand
image
of
dance
What
rejectors
of
dance
think
Page 60

62. The
global
brand
image
of
dance
Fans Rejectors
Page 61
Note: Based on research in ten countries

63. Beyond
‘energe:c’:
countries’
appreciate
different
things
How one major dance artist is seen in different countries
Page 62
Note: we research many artists signed to other labels as well as EMI artists. Please don’t try to guess who this is!

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. 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
Passion'for'Dance'/'Electronic'music'amongst''All'People''in'each'country
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. 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. IMS
Consumer
Report
2012
A
world
tour
of
dance
music
consumers
Based
on
750,000
interviews
Page 66

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
isn't
possible
and
the
interviews
aren't
as
representa=ve
as
we'd
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. APPENDIX:
Country-­‐by-­‐country
genre-­‐age
charts
for
other
countries
Page 68

70. AU
90%
80%
70%
ROCK
POP
60%
50%
40% COUNTRY
CLASSICAL
BLUES / JAZZ / SOUL
DANCE / ELECTRONIC
30%
URBAN
20% OTHER
10%
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. BEFL
90%
80%
70%
POP
60% ROCK
50%
DANCE / ELECTRONIC
40%
CLASSICAL
BLUES / JAZZ / SOUL
30% OTHER
COUNTRY
URBAN
20%
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. NO
80%
70%
POP
60% ROCK
50%
40%
CLASSICAL
COUNTRY
DANCE//JAZZ / SOUL
BLUES ELECTRONIC
30%
OTHER
20% URBAN
10%
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. NZ
90%
80%
70%
ROCK
POP
60%
50%
COUNTRY
40% CLASSICAL / SOUL
DANCE//JAZZ
BLUES ELECTRONIC
30%
OTHER
URBAN
20%
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. DK
90%
80%
70% POP
ROCK
60%
50%
40% CLASSICAL
COUNTRY
BLUES //JAZZ / SOUL
DANCE ELECTRONIC
30%
OTHER
20%
URBAN
10%
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. ES
90%
80%
POP
70%
60%
ROCK
50%
CLASSICAL
40%
DANCE / ELECTRONIC
BLUES / JAZZ / SOUL
30%
COUNTRY
OTHER
20%
URBAN
10%
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. DE
90%
80%
70%
POP
60%
ROCK
50%
40%
CLASSICAL
30% DANCE / ELECTRONIC
COUNTRY
BLUES / JAZZ / SOUL
OTHER
20%
URBAN
10%
0%
13 to 15 16 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people
Page 75

77. FR
90%
80%
POP
70%
60%
ROCK
50%
40% BLUES / JAZZ / SOUL
CLASSICAL
DANCE / ELECTRONIC
30%
COUNTRY
20% OTHER
URBAN
10%
0%
13 to 15 16 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people
Page 76

78. NL
90%
80%
70%
POP
60%
50%
ROCK
40%
OTHER
DANCE / ELECTRONIC
30% BLUES / JAZZ / SOUL
CLASSICAL
COUNTRY
20%
URBAN
10%
0%
13 to 15 16 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people
Page 77

79. BEWA
90%
80%
70%
60% POP
ROCK
50%
CLASSICAL
40%
BLUES //JAZZ / SOUL
DANCE ELECTRONIC
OTHER
30% COUNTRY
URBAN
20%
10%
0%
13 to 15 16 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people
Page 78