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Music revenues are declining for more than ten years. But we are not listening less music. Digital revolution, piracy, streaming and mostly customers behaviors are affecting heavily the monetization of the entire industry. Define a new business model is key to grow.
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Spotify Stats that run the music industry in 2020
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Lesson Slides for G322b Institutions & Audiences - The Music Industry
Slide background image taken from: http://evolver.fm/wp-content/uploads/2011/01/youtube_music_service_google.png
Beyonce is not only an artist & entertainer, she is also a strategist. Through analyzing business models in the music industry like iTunes, record company, piracy, spotify, artists we show how Beyonce re-introduced the business model of the classic album. A classic. Beyonce rocks.
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The music streaming market has experienced significant growth over the years, driven by advancements in technology, changes in consumer behavior, and the increasing adoption of digital platforms for entertainment consumption.
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Slide background image taken from: http://evolver.fm/wp-content/uploads/2011/01/youtube_music_service_google.png
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POTENTIAM.IO - Decentralized Music Platform [WHITEPAPER]Ardian Agung
Join ICO!
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Hey everyone! Potentiam was started as a way to bring new and innovative services to independent musicians everywhere. We are true music lovers who are involved in the space internally and we see the struggles that many artists go through to get their work heard. We launched the ICO knowing we wanted to change the music industry but we had some issues bringing that idea to fruition. That, however, is all about to change.
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Music Publishing Industry
Analysis and Report
Economic Indicators
Overview
The American music industry is undoubtedly at the heart of contemporary American culture as a whole. The United Sates is the world’s largest recorded music market by sales, followed by Japan, the UK, and Germany (Hoover’s). As with most entertainment industries, the music industry has continued to evolve with acknowledging and making use of technological advancements to increase overall profits, widen the scope of listeners around the world, and further enlarge the music industry’s market share amongst other sectors in the entertainment world, such as television, film, and radio.
Although there are many individuals and organizations that operate within the music industry, this report will focus on the Music Publishing industry as it is in the midst of an important transition. The decrease of physical album sales in the past five years has forced publishers to look for new revenue sources and “to become less dependent on traditional licensing platforms” (IBISWorld US). To meet the changing needs of the consumer, music publishers are constantly establishing licensing agreements with new revenue streams like mobile outlets, digital streaming services and wireless music subscription services, like Spotify. Adapting to these new models has helped to alleviate the losses caused by the decrease in consumer spending and unimpressive album sales during the recession. However, the lack of consumer demand for albums along with the declining physical album sales has not been forgotten, as its effects are still present throughout the industry.
Table 1
The Music Publishing Industry at a Glance
While the industry has been experiencing more positive trends over the past five years, the negative factors listed above have certainly outweighed the more positive developments, resulting in an estimated average annual revenue decline of 3.2% in the five years leading up to 2014, totaling $3.9 billion.
As industry operators continue to adapt to the changing media landscape and leverage online platforms, IBISWorld expects revenue for the Music Publishing industry to grow 0.9% in 2014, which could mark the beginning of a more positive trend within the music industry.
Digital platforms have undoubtedly created new revenue streams; however, the future performance of the industry relies on the ability to overcome certain obstacles, including the fact that, today, selling a song has become more challenging with the widespread availability of online music. IBISWorld also points out that the internet has become a practical way for an artist to manage, distribute, and promote his or her own songs and albums, which has ultimately decreased the need for a publisher.
Even with some of these challenges, it is expected that the industry will grow in the coming years. “In the five years to 2019, revenue is projected to grow at an annualized rate of 0.8% to $4.0 billion” (IBISWorld.
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Live Music Streaming Opportunity Valuation
1. 1
brand investment and activation of live music & streaming platforms
mauro cellore
managing partner, mc[co] labs
2. 2
To offer a strategic perspective on the live
music streaming opportunity for brand marketers
considering an investment and activation of
live music properties.
To provide an overview on the key drivers
responsible to drive marketing ROI from the
investment in live music content platforms.
To present a point of view on the evolution of
music-related content marketing initiatives, as
live experiences, artist engagement models and
content distribution fuse into multi-platform
business models.
2
3. 3
The ~$13B U.S. music industry is projected to grow at a
3% CAGR over the next four years, primarily driven by
live music (sponsorships/tickets) and online streaming
(audio and video).
· Live music and online streaming counterbalance declining
physical retail and flat digital download revenues.
· The music industry still profiles as “superstar economy”, with
highly concentrated demand patterns (<7% of artists driving ~75%
of total music revenue).
Online music streaming is dominated by audio (~64%)
and music videos (35%).
· While audio streaming is primarily monetized through
subscription models, music videos is advertising-based.
Profitability is still widely challenged across all business models.
Brands have five key “entry points” into music:
(1) Production (“record label” model), (2) Digital
streaming, (3) Live music, (4) Promotional/marketing,
and (5) Ventures / artist collaborations.
· To date, branded music assets derived from these investment
models are still “disconnected” and not integrated into higher
yield platforms.
If left isolated operating at sub-scale, live streaming
and live music sponsorship are both ROI challenged
and inhibited by low differentiation, high entry costs,
audience fragmentation and deal structures with
partnering distributors. We have witnessed a 20-
40% value shortfall for live music investments
compared to similar media dollar allocations.
Live streaming is currently <1% of the online music
streaming market. Consumer demand continues to grow
from a low base (~400M views annually).
· Average live performances remain in the low 20-100K unique
views, requiring large volumes of top concerts to support a real
business case behind the investment.
· Multi-artist (headliners) festivals and must-see events (e.g.,
Coachella, Bonnaroo) are the exceptions with viewers reaching
>4M (500-800K for an individual concert).
· Investment activity has picked up in the past 12 months, due to
sizeable brand investments, new equity partnerships, and
promoters/digital portal deals.
3
4. 4
Scale for brand marketers, however, appears to be
elusive, underscoring business model challenges,
distribution fragmentation, clutter and creative
challenges inherent with the streaming model.
· Consumer demand appears to be “capped” at 30-40M engaged
digital viewers
· Intention behind live streaming still anchored on a “content
repurposing” strategic driver.
· Content repurposing still lacks a compelling value proposition
against the live experience.
However, live music streaming can have a place in a
cross-platform music investment model for marketers
with meaningful budgets and a clear music strategy.
· Highly engaged fan base around music and music artists.
· Possible direct-to-consumer distribution channel for music artists.
· Integration opportunities with live music experience and other
music assets.
To date Brand investments in live streaming has faced
ROI challenges, driven by misaligned distribution
models/partnerships, poor targeting and inefficient/sub
scale resource allocation.
Live music ROIs can be improved by working on the
creative, strategic and financial side of the investment,
defining value-add creative initiatives on top of the live
streaming platform, integrating live music sponsorships
and artist collaborations and using cutting edge
techniques for sizing and matching audience metrics
with investment deployment.
Those initiatives require the augmentation of
traditional marketing approaches with a dual creative/
strategic skill set to lead opportunity assessment,
partnership architecture design, artist deals and
collaboration opportunities.
(cont’d)
4
6. 6
u.s. music market
(2013-2018, US$B)
4%
33%
cagr
2008-2013
cagr
2013-2018
100%
80%
60%
40%
20%
0%
-3%
20%
2013 2018
Note: Digital streaming and subscriptions ($1.44B) encompass on-demand streaming ($220M), SoundExchange distributions ($590M, mainly from Pandora), and paid subscriptions such as Spotify
($628M), fastest growing segment with 40% growth last year; Digital downloads are 57% singles and 43% albums; Music synch and ringtones is a sixth category at ~$300M with limited growth.
Sources: Pollstar and Mintel (tickets), IEG (music sponsorships), Billboard, RIAA, IFPI, MC[CO] Labs elaboration and forecasts
13.1
2.8
1.4
2.5
1.3
15.2
2.5
3.6
1.3
1.6
digital downloads
digital streaming and subscriptions
physical sales
live music sponsorships
concert tickets
-16%
4%
3%
-12%
5%
4%
6
7. 7
profitabilitymusic segment consumption trends key players
Digital Downloads
Digital Streaming and
Subscriptions
Physical Sales
Live Music
Sponsorships
Concert Tickets
1-2%
Largely unprofitable
-3-1%
10-12%
7-9%
· Maturing market with first signs of plateau/slight
decline in 2014 despite projected growth.
· Decline in single track purchases accelerated
compared to albums.
· High-growth segment includes on-demand streaming
(e.g.,live streaming) and subscription services.
· Scale/ongoing investment required to maintain
consumer interest.
· Most valuable download buyers are fueling recent
growth by switching to subscriptions.
· Continued decline amid decreasing consumer interest
and lower profit margins compared to digital.
· Growth accelerating as consumers continue to place
value on live music experiences, including concerts and
festivals.
· Sponsorships now a critical revenue stream for promoters
and increasingly valuable touch-point for brands involved.
· Minor year-to-year fluctuations in ticket sales have been
offset by a steady increase in ticket prices.
· Consumer demand for top artists has created a megastar
economy in which top 1% of artists drive 70% of revenues. 7
8. 8
music artist concentration
(2012, ww share of revenues)
100%
90%
80%
70%
60%
50%
40%
30%
20%
10%
0%
93%
75%
25%
share of artists share of revenue
Limited “scale” in “long tail”
Challenged “discovery” economics
Power concentrated among mega artists and top labels
Increasing A&R talent costs
implications
7%
Notwithstanding recent technological advances and consumer adoption,
the fundamentals of the “music super-economy” remain unchanged.
8
10. 10
production
digital streaming
live music
promotional marketing
1
2
3
4
5
ventures/artist
collaborations "Record label” model
· Sourcing
· Recording
· Marketing and
distribution
· Audio/radio model
· Curation
· Live music streaming
· Tickets
· Sponsorships
· Media buys
· Content sponsorship
10
11. 11
70
60
50
40
30
20
10
0
production
(“record label” model)
digital streaming
(at scale)   
promotional/marketing
Note: brand marketing music initiatives are defined as investments from major corporate sponsors (either sponsorships, production, or promotion) aligning their
brand name and resources against a music program, platform or talent.Source: MC[CO] Labs elaboration based on IEG, AdWeek and Billboard data
ventures / artist
collaborations
live music
brand marketing investment initiatives in music properties
(# of initiatives, 2012-2013)
11
12. 12
60
50
40
30
20
10
0
2011 2012 2013
Key Insights
• Average scale investment in music
sponsorship is increasing and surpassing
the $50M mark for top spenders in 2013.
• Live music sponsorship spending is largely
driven by EOS ticketing programs and
associated live activations across the Auto,
Financial Services and Beverage categories.
Nike is the main music sponsor at scale
outside of those leading categories.
• Live streaming is being pursued by a
minority of large spenders, with budget
allocations to digital streaming activation
being normally in the 15-20% range.
• Live streaming is today still viewed as an
“extension” of the live experience
sponsorship with deal structures requiring
marketing commitments to drive viewership
and engagement on the branded content(*) Top spenders include companies such as Pepsi, Coca Cola, Toyota, American Express, CITI, Chase, Master Card,
Heineken
Note: Sponsorship spend by the top spenders above represents ~34% of total North American sponsorship spend in 2013.
Source: MC[CO] elaborations based on IEG, Billboard, AdAge data corroborated with internal spending database and
expert interviews
average annual music sponsorship spend by top
10 spenders (2011- 2013, US$M)
12
14. 14
Digital music is slowing down its growth and shifting platform mix, with music and ad models emerging
as key contributors behind downloads.
from:
download economy
• almost entirely download based
• “ownership” driven
• drm dependent
• simple platform
• aggregation driven
to:
streaming economy
• downloads and streaming
• “cloud” based
• more fluid drm systems
• complex, intelligent
platforms
• access driven
14
15. 15
140
120
100
80
60
40
20
0
Streaming volumes are overwhelming compared to digital units sold; however per unit monetization
clearly favors DTO (1$ per unit avg. vs. 0.005S/unit stream)
on demand streams    digital units sold
1.5b
118b
on demand streams vs. digital music “units” sold
(In B units, worldwide 2013)
15
16. 16
streaming music breakdown
(2013est, ww share of viewership and revenues)
100%
90%
80%
70%
60%
50%
40%
30%
20%
10%
0%
$173B $1.4B
87%
 share of
streams/views
share of revenue
68%
Key Insights
· The fast-growing audio/music video streaming
segment drove ~$1.4B in revenue in 2013, with 90%
of revenue coming from audio streaming services such
as Pandora and Spotify.
· Growth in video viewership is driven mainly by Vevo,
which is the only music video platform that has
surpassed 40M MAU in the U.S.
· The high concentration of viewership and revenue
among streaming distributors (primarily audio) has
empowered a small number of key players to act as
“gatekeepers” for the market.
· We estimate that audio (118B on-demand plays)
and music Livestreamingvideos (55B views
annually) lead viewership, leaving live
music streaming with a miniscule sliver of the
streaming segment.
· Although live concerts are growing at a fast rate (43%
CAGR in 2013), the format is building on a low scale and
continues to be challenged by underlying structural
demand limitations
· Format appeal compared to other music content
options (e.g. music video)
· Ad model (challenges in creating inventory) Small
screen experience
32%
13%0.2%
live streaming video
audio
0.1%
16
17. 17
live music streaming market
(Streaming + On demand, unique viewers, ww 2012-2013)
400M
300M
200M
100M
0
total events 14,000 20,000
2012 2013
100%
90%
80%
70%
60%
50%
40%
30%
20%
10%
0%
shares
distribution shares
(Estimates market shares on total views, 2013)
other
yahoo! music
livestreaming sites
youtube/vevo
40%
CA GR
(*) Destination includes destination sites set up to distribute the live music
experience (e.g. Boiler Room)
(**) Livestreaming sites include Ustream (market leader), Livebeats, and iRocke
Note: This chart considers primary streaming channels, even though some
concerts are streamed by multiple channels
destination
17
18. 18
6
4
2
0
other
online
high
average
Key Insights
Live concerts have been challenged to drive TV
audiences at scale (min >1M viewers), except for
globally distributed “must-see” events.
· As such, live music has been progressively marginalized
from TV Networks programming schedules.
The expansion of online video has been driving
a renewed interest in the format from online
distributors interested in the “scarcity” aspects of the
live platform.
· Leading to live streaming recent fast growth, primarily
driven by supply dynamics.

“There was a moment when everybody seemed to be pitching
Average a live stream of concerts, whether audio or video,” says
an unnamed digital executive. “It just didn’t make sense. It
wasn’t what the consumer was trying to do.”
- Billboard
However, online viewership results to date suggest
that live music streaming continues to be structurally
challenged to reach large scale audiences, except in a
few notable exceptions.
· “Large scale must see events” (Live 8, Coachella)
· Mega star top tours
live streaming performance benchmarks
(Unduplicated Viewership or “Uniques” in M)
other
tv
online
mega
artist
tv
mega
artist
online
festival
headliners
tv
must
see
event
18
19. 19
brand marketer
· Potential production funding
· Marketing commitment
· Ancillary content
permormer/
artist/management
promoter/venue
online distributors
other channels
(if not covered by main deal)
pr amplification
• Vevo
• Vimeo
• Crackle
• Connected TVs
• Mobile
• Game platforms
live experience
streaming
other content
streaming
on demand
streaming
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20. 20
rights clearances/
production
marketing /
deal structures
distribution
strategy
full potential
integration
• Must fit into broader “artist
roster” strategy
(collaborations/activation).
• Normally performed by
distributing platform, but
with significant implications:
· Video player specific
· Time coverage
· “First opportunity” for
amplification clauses
• Live vs. On demand vs
ancillary content rights (e.g.
pre-show content
production)
• Production funding and
rights ownership
• Other opportunities for
rights exploitation
• IP/content deal structures -
Content deals
- Media buys
- In-content ad
inventory share
- “Channel” options
for scale propositions (e.g.
Youtube channels and similar)
• Co-marketing support
(from distributing platform)
• PR amplification (PR
strategy and audience
engagement plan)
• Rights availability and
clearances
• Blanket ASCAP/DRM
deals for distribution at scale
(live performances)
• Distribution footprint
Windowing strategy (if
applicable)
• Live stream distribution, on
demand and ancillary
content engagement
• Deal structures
• Organization implications
(salesforce/bus dvlp)
• Brand role in the music
ecosystem and in live music
specifically
• Branded “music platform”
for activation
• Live streaming and
connections with live
experiences + artist strategy
• “Utility” propositions to
consumers
• Overall integration into
cohesive music platform
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23. 23
brand goals
music strategy
role and vision
platform design
investment
monitoring
SCALE +INTEGRATION
Reach
Engagement
Media Investment ROI
Other brands’ investments
Content clutter
Distributors’ shares
• Content format demand
• Distributors’ shares
• New entrant investments
Intangible marketing benefits
Media comparison ROI
business
model
partnerships /
deals
music assets
resources /
capabilities
market forces competitive dynamics
23
24. 24
Founded by former Bain and WME strategists with deep media experience,
MC[CO] Labs is a strategic advisory venture headquartered in Los Angeles and
specializing in content strategy and investments across the media and marketing
ecosystems.
•
We partner with content investors, global marketing leaders and media
entrepreneurs to support the evaluation, structuring and execution of “big prize
opportunities”
•
We engage across the entire growth execution spectrum, from consumer discovery,
to ideation, strategic planning, creative collaborations and investment/deal
valuation.
• Our track record was built over 100+ growth/content strategy initiatives, $3B+ of
media/marketing partnerships and $70B+ of media related investments across the
full spectrum of company size, stage and steps of the media value chains.
24
25. 25
music platform
strategy
music strategy music opportunity
valuation
deal structuring
analysis
Strategic goal setting
Content model design
Genre/Talent
prioritization
Investment approach and
sequencing
Music Platform Vision
Consumer Experience /
Value proposition
Strategic Architecture &
Design
Investment sizing and
ROI targets
Strategic partnership
architecture
Distribution strategy
Deal valuation
(rights, talent,
strategic
partnerships)
Long-term investment in music asset
building for marketing amplification

25
26. 26
agencies
marketers
ip creators
distributors
(labels, promoters. digital)
Operational experience at market leading talent agency
with leading music position.
Multiple projects in collaboration with agencies and their
clients, focusing on the design of investment platforms in
media and entertainment content.
Worked with marketers across industries developing
content strategies and platform investment thesis with
focus on sports, music and film.
10 cases in the past 2 years
Worked with IP creators, artists and right- holders
defining multiplatform strategies to maximize the value of
their rights
Over 15 cases in the past 3 years
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