Ruoff Music Center had the #1 ticket sales globally in 2018 for amphitheaters. However, the report identifies issues like a muddy lawn from grass, dated equipment causing poor sound quality, and giving away too many unsold tickets for free. It recommends converting the lawn to turf, yearly system evaluations, and selling discounted unsold tickets to enhance the experience and increase loyalty and sales. Implementing these changes by 2022 could help Ruoff Music Center continue its success.
Live Nation Entertainment owns and operates Ruoff Music Center in Noblesville, Indiana. Ruoff Music Center hosts country, rock, and pop concerts. In 2018, Ruoff Music Center was the #1 amphitheater in the world for ticket sales according to Pollstar, despite Live Nation increasing ticket prices 13% that year. Ruoff Music Center continues to outperform competitor venues like Bankers Life Fieldhouse, Ford Center, and White River State Park due to its strong reputation and successful concerts.
Ruoff Music Center in Noblesville, Indiana hosts concerts and has seen increasing ticket sales in recent years. It utilizes strategies like social media promotions and sustainability efforts. However, threats include unpredictable weather at the outdoor venue and increasing competition from other local concert venues. The security team works hard to keep concerts safe for attendees and artists, though cell service is weak throughout the venue.
Live Nation Entertainment owns the House of Blues brand, which includes 10 clubs and 8 amphitheaters. In 2006, Live Nation CEO Michael Rapino purchased House of Blues for $350 million in order to expand the brand globally. While Live Nation's stock has increased significantly since 2013, outperforming the DOW, it has a high debt-to-assets ratio. House of Blues competes directly with venues like The Paramount and Stubbs Bar-B-Q through similar membership programs, merchandise shops, and gospel brunches. Rapino aims to help House of Blues expand internationally to gain an advantage over competitors like AEG, which owns prominent venues.
This market report analyzes Def Jam Recordings and provides recommendations to increase revenue. Def Jam averages $21.4 million in revenue annually, ranking 4th among labels owned by Universal Music Group. The report finds that streaming and digital downloads are the primary ways consumers access music. It recommends that Def Jam expand its audience by having artists collaborate across genres like pop and country music, and continue focusing on digital over physical distribution to cut costs. Implementing these strategies could lead to higher revenue by gaining new fans.
The document summarizes a presentation given at the Music 4.5 conference on practical issues in digital music licensing. It discusses setting licensing parameters, how to obtain licenses from record labels, performing rights organizations, and publishers. It provides advice on a practical approach to licensing, including focusing negotiations on generating revenue for rightsholders. The document also includes a hypothetical pitch presentation for an event listing and ticketing platform called eventbox.
This document provides a marketing plan for Buffalo Wild Wings. It includes a situation analysis covering the external environment, industry analysis, competitive analysis, and internal/customer environment. Marketing goals are to increase market share and customer satisfaction. The primary target market is individuals aged 16-55. Strategies include introducing a frozen food line, determining pricing through focus groups, offering product samples at grocery stores, and implementing a delivery service. Financial forecasts, product, pricing, distribution, and promotional standards with corrective actions are provided to evaluate the plan.
Live Nation had a profitable third quarter in 2015 and looks to increase market share in 2016. As the largest live entertainment company, it controls every aspect of the concert experience but fails to customize for individual customers. The marketing plan aims to increase long-term profitability through product augmentation based on customer needs using Live Nation's assets, partnerships, and customer data. A SWOT analysis finds strengths in partnerships and data, weaknesses in customization and pricing, opportunities in underused data, and threats from indirect competition and rising artist costs.
The IFPI Global Music Report tells a positive story of music being enjoyed by more people in more ways than ever before. At the heart of this story are incredible artists, supported by the investment and innovation from record companies and other
partners that is helping them to share their music with
the world.
Live Nation Entertainment owns and operates Ruoff Music Center in Noblesville, Indiana. Ruoff Music Center hosts country, rock, and pop concerts. In 2018, Ruoff Music Center was the #1 amphitheater in the world for ticket sales according to Pollstar, despite Live Nation increasing ticket prices 13% that year. Ruoff Music Center continues to outperform competitor venues like Bankers Life Fieldhouse, Ford Center, and White River State Park due to its strong reputation and successful concerts.
Ruoff Music Center in Noblesville, Indiana hosts concerts and has seen increasing ticket sales in recent years. It utilizes strategies like social media promotions and sustainability efforts. However, threats include unpredictable weather at the outdoor venue and increasing competition from other local concert venues. The security team works hard to keep concerts safe for attendees and artists, though cell service is weak throughout the venue.
Live Nation Entertainment owns the House of Blues brand, which includes 10 clubs and 8 amphitheaters. In 2006, Live Nation CEO Michael Rapino purchased House of Blues for $350 million in order to expand the brand globally. While Live Nation's stock has increased significantly since 2013, outperforming the DOW, it has a high debt-to-assets ratio. House of Blues competes directly with venues like The Paramount and Stubbs Bar-B-Q through similar membership programs, merchandise shops, and gospel brunches. Rapino aims to help House of Blues expand internationally to gain an advantage over competitors like AEG, which owns prominent venues.
This market report analyzes Def Jam Recordings and provides recommendations to increase revenue. Def Jam averages $21.4 million in revenue annually, ranking 4th among labels owned by Universal Music Group. The report finds that streaming and digital downloads are the primary ways consumers access music. It recommends that Def Jam expand its audience by having artists collaborate across genres like pop and country music, and continue focusing on digital over physical distribution to cut costs. Implementing these strategies could lead to higher revenue by gaining new fans.
The document summarizes a presentation given at the Music 4.5 conference on practical issues in digital music licensing. It discusses setting licensing parameters, how to obtain licenses from record labels, performing rights organizations, and publishers. It provides advice on a practical approach to licensing, including focusing negotiations on generating revenue for rightsholders. The document also includes a hypothetical pitch presentation for an event listing and ticketing platform called eventbox.
This document provides a marketing plan for Buffalo Wild Wings. It includes a situation analysis covering the external environment, industry analysis, competitive analysis, and internal/customer environment. Marketing goals are to increase market share and customer satisfaction. The primary target market is individuals aged 16-55. Strategies include introducing a frozen food line, determining pricing through focus groups, offering product samples at grocery stores, and implementing a delivery service. Financial forecasts, product, pricing, distribution, and promotional standards with corrective actions are provided to evaluate the plan.
Live Nation had a profitable third quarter in 2015 and looks to increase market share in 2016. As the largest live entertainment company, it controls every aspect of the concert experience but fails to customize for individual customers. The marketing plan aims to increase long-term profitability through product augmentation based on customer needs using Live Nation's assets, partnerships, and customer data. A SWOT analysis finds strengths in partnerships and data, weaknesses in customization and pricing, opportunities in underused data, and threats from indirect competition and rising artist costs.
The IFPI Global Music Report tells a positive story of music being enjoyed by more people in more ways than ever before. At the heart of this story are incredible artists, supported by the investment and innovation from record companies and other
partners that is helping them to share their music with
the world.
This document summarizes Tyler Hoisington's final assignment for an MDIA course. It discusses Tyler's role as a student learning about the music industry. It also covers topics like digital music licensing trends, music synchronization, supervision, conflicts in publishing, emerging concepts, and Tyler's future goals working in live music. The document reflects on changes in Tyler's views of the industry and its bright future prospects despite periods of decline.
I dati internazionali sugli investimenti ed i contributi che l’industria discografica dedica allo sviluppo di progetti musicali. La discografia è il maggior investitore musicale, con importi di oltre $4.5 miliardi destinati all’A&R e marketing nel solo 2015.
This document provides an overview of the global recorded music market in 2014. Some key points:
- Global recorded music revenues were $14.97 billion in 2014, a slight 0.4% decline from 2013.
- Digital revenues grew 6.9% to $6.85 billion, driven by a 39% increase in subscription revenues. However, declines in physical format sales (-8.1%) and downloads (-8%) contributed to the overall market decline.
- Streaming revenues, including both subscription and ad-supported, now account for 32% of global digital revenues and have overtaken downloads in many markets. YouTube is a dominant platform for music streaming and consumption.
- The US market grew 2.1%
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.
While concert attendance is up, $24B worth of tickets go unsold each year due to discovery issues rather than lack of interest. Wax Music aims to solve this problem by using social music discovery on their platform to power concert recommendations and ticket sales. They have had early traction, gaining users and processing music, and they are seeking $750K in seed funding to expand partnerships and capabilities.
The consulting team provided four key recommendations to increase attendance at the Farmers Insurance Open golf tournament in San Diego: 1) Create an event called "A Taste of Torrey" featuring local food, drinks and artisans; 2) Partner with Spotify to sponsor a concert by Jason Mraz; 3) Develop a mobile app for the tournament; 4) Implement radio frequency identification wristbands to collect attendee data. These recommendations aim to attract more of the target demographic - people ages 25-49 who enjoy food, drink and music - to expand the tournament experience beyond just golf. Projections estimate these changes could increase attendance by 5-10% and generate over $500,000 in additional revenue.
The global market for background music is expected to grow from $ 1,614.1 million in 2021 to $ 2,201.1 million in 2026. The market is expected to grow at a CAGR of 6.4% over the forecast period (2021-2026). Some of the market's key participants are Almotech, Auracle Sound, Brandtrack, CSI Music, Cloud Cover Music, Custom Channels, Easy on Hold, Express Melody, Heartbeats International, Imagesound, Jamendo Listening, Jukeboxy, Kasimu, Mood Media, NSM Music., Open Ear Music, Pandora for Business, PlayNetwork, Qsic, Rockbot, SiriusXM for Business, SoundMachine, Soundjack, Soundreef, Soundtrack Your Brand, StorePlay, Sunflower Music, TouchTunes, Usen Corporation, Xenon Music Media. This report intends to identify significant growth areas and to explore relevant market strategies. This in-depth analysis delves into the global market for background music. The primary goal of this research is to examine the potential growth areas, significant trends, and the market's impact on the industry. The report also reviews the adoption of background music in both established and emerging markets.
In 2017, the global recorded music market grew by 8.1%. This was the third consecu- tive year of global growth and one of the highest rates of growth since IFPI began tracking the market in 1997. Revenues increased in most markets and in eight of the global top 10 markets.
Spotify is a streaming music platform founded in 2006 in Sweden. It has over 422 million monthly active users and 182 million paying subscribers, making it one of the largest music streaming services. Spotify offers access to over 82 million songs and competes with other services like Apple Music and Amazon Music. While Spotify's basic service is free with ads, their premium subscription costs $9.99 per month and provides ad-free listening and additional features. Factors like customer income, competing prices, and expectations in the music streaming market affect Spotify's demand.
Live Music Streaming Opportunity ValuationMC[CO] Labs
The document discusses brand investment opportunities in the live music and streaming industry. It notes that the music industry is projected to grow 3% annually, driven by live music and streaming. Live streaming currently accounts for less than 1% of online music but consumer demand is growing. The summary also states that while large brands have invested in live streaming, it has faced challenges achieving scale due to business model issues and audience fragmentation. Finally, it suggests that integrating live streaming with live events and artist partnerships could help brands improve returns on their music investments.
The document analyzes the growth and success of Apple Music since its launch four years ago. It finds that Apple Music has grown to over 60 million subscribers, challenging leading services like Spotify. The service benefits from Apple's reputation and integration across its devices. The document recommends that Apple Music focus on increasing its target audience and using personalized data and community engagement to continue gaining subscribers and closing the gap with Spotify.
The document discusses opportunities and threats in the changing music industry. Major record labels are struggling as physical music sales decline sharply. However, the overall music business is thriving through growing areas like live concerts, merchandising, and licensing. For the music business to succeed, a new model is needed that focuses on full artist brand management and exploitation across all income streams. It must also diversify revenue sources beyond recordings and align the interests of artists and labels. Emerging markets like China and India also provide major growth opportunities if infrastructure and legal issues are addressed.
Music Coco is a proposed data analytics dashboard that would provide a single platform to track key metrics for the music industry in Nigeria. Currently, there is no centralized source of data for musicians, labels, and other stakeholders to measure efforts and make important decisions. Music Coco would analyze metrics like downloads, artist performance, income, and hit predictions to help labels identify successful songs and artists. This would save money and reduce risks compared to the current approach relying on instincts. If successful, Music Coco could help the growing Nigerian music industry become more data-driven.
This document discusses the role of music promoters in small to medium sized music venues in the UK. It defines what a promoter is and outlines their main responsibilities, which include booking artists, negotiating fees, marketing events, and ensuring financial and legal compliance. The document discusses the different types of promoters and the increasing pressures they face from artists, venues, and changing business models. It also examines how UK licensing laws and the growth of social media have impacted promoters' work. Personal anecdotes from promoters provide insight into the challenges of promoting shows in today's competitive environment.
Intone is a music strategy company established in 2008 that helps brands achieve marketing objectives through music. They have over 30 years of combined experience in music-related fields. Intone develops customized music strategies for brands, including market research, campaign development, artist selection and content delivery. They provide case studies demonstrating how their music strategies helped achieve clients' goals such as increased sales, brand building, and media value.
This advertising campaign promotes the first annual Earthbound Music Festival, a two-day concert experience featuring reggae and rock music artists. The campaign aims to sell out tickets to the 5,000 capacity event through print, broadcast, online, and viral advertising targeting college-aged music fans between 17-25 years old. The budget allocates funds for radio ads, flyers at 15 colleges, a Facebook page, YouTube videos, and merchandise. Ten percent of profits will be donated to an environmental charity. The goals are to sell out tickets, establish the festival as a brand, and create a memorable experience for attendees and artists.
This document outlines a marketing plan for Rose Records including details on their artists, target demographics, marketing strategies, budgets, and timeline. Key elements include:
- Artists include The Story, Jon Bellion, and hip hop/R&B. Target market is 16-24 year olds interested in trendy culture and social media.
- Marketing strategies involve rebranding social media, working with local record stores, cooperative ads with DQ, and street teams.
- Budget is $99,998 with expenses like publicity campaigns, flyers, signage, stickers, and website enhancements. Goals include selling out tours and increasing streaming subscriptions.
This document provides a summary of Beka Bishop's education, experience, skills, and profile for an artist management or music business position. She has a Bachelor's degree in Music Business and over 4 years of experience in artist management, social media marketing, and event coordination. Her skills include social media strategy, communication, organization, and adaptability.
This document summarizes Tyler Hoisington's final assignment for an MDIA course. It discusses Tyler's role as a student learning about the music industry. It also covers topics like digital music licensing trends, music synchronization, supervision, conflicts in publishing, emerging concepts, and Tyler's future goals working in live music. The document reflects on changes in Tyler's views of the industry and its bright future prospects despite periods of decline.
I dati internazionali sugli investimenti ed i contributi che l’industria discografica dedica allo sviluppo di progetti musicali. La discografia è il maggior investitore musicale, con importi di oltre $4.5 miliardi destinati all’A&R e marketing nel solo 2015.
This document provides an overview of the global recorded music market in 2014. Some key points:
- Global recorded music revenues were $14.97 billion in 2014, a slight 0.4% decline from 2013.
- Digital revenues grew 6.9% to $6.85 billion, driven by a 39% increase in subscription revenues. However, declines in physical format sales (-8.1%) and downloads (-8%) contributed to the overall market decline.
- Streaming revenues, including both subscription and ad-supported, now account for 32% of global digital revenues and have overtaken downloads in many markets. YouTube is a dominant platform for music streaming and consumption.
- The US market grew 2.1%
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.
While concert attendance is up, $24B worth of tickets go unsold each year due to discovery issues rather than lack of interest. Wax Music aims to solve this problem by using social music discovery on their platform to power concert recommendations and ticket sales. They have had early traction, gaining users and processing music, and they are seeking $750K in seed funding to expand partnerships and capabilities.
The consulting team provided four key recommendations to increase attendance at the Farmers Insurance Open golf tournament in San Diego: 1) Create an event called "A Taste of Torrey" featuring local food, drinks and artisans; 2) Partner with Spotify to sponsor a concert by Jason Mraz; 3) Develop a mobile app for the tournament; 4) Implement radio frequency identification wristbands to collect attendee data. These recommendations aim to attract more of the target demographic - people ages 25-49 who enjoy food, drink and music - to expand the tournament experience beyond just golf. Projections estimate these changes could increase attendance by 5-10% and generate over $500,000 in additional revenue.
The global market for background music is expected to grow from $ 1,614.1 million in 2021 to $ 2,201.1 million in 2026. The market is expected to grow at a CAGR of 6.4% over the forecast period (2021-2026). Some of the market's key participants are Almotech, Auracle Sound, Brandtrack, CSI Music, Cloud Cover Music, Custom Channels, Easy on Hold, Express Melody, Heartbeats International, Imagesound, Jamendo Listening, Jukeboxy, Kasimu, Mood Media, NSM Music., Open Ear Music, Pandora for Business, PlayNetwork, Qsic, Rockbot, SiriusXM for Business, SoundMachine, Soundjack, Soundreef, Soundtrack Your Brand, StorePlay, Sunflower Music, TouchTunes, Usen Corporation, Xenon Music Media. This report intends to identify significant growth areas and to explore relevant market strategies. This in-depth analysis delves into the global market for background music. The primary goal of this research is to examine the potential growth areas, significant trends, and the market's impact on the industry. The report also reviews the adoption of background music in both established and emerging markets.
In 2017, the global recorded music market grew by 8.1%. This was the third consecu- tive year of global growth and one of the highest rates of growth since IFPI began tracking the market in 1997. Revenues increased in most markets and in eight of the global top 10 markets.
Spotify is a streaming music platform founded in 2006 in Sweden. It has over 422 million monthly active users and 182 million paying subscribers, making it one of the largest music streaming services. Spotify offers access to over 82 million songs and competes with other services like Apple Music and Amazon Music. While Spotify's basic service is free with ads, their premium subscription costs $9.99 per month and provides ad-free listening and additional features. Factors like customer income, competing prices, and expectations in the music streaming market affect Spotify's demand.
Live Music Streaming Opportunity ValuationMC[CO] Labs
The document discusses brand investment opportunities in the live music and streaming industry. It notes that the music industry is projected to grow 3% annually, driven by live music and streaming. Live streaming currently accounts for less than 1% of online music but consumer demand is growing. The summary also states that while large brands have invested in live streaming, it has faced challenges achieving scale due to business model issues and audience fragmentation. Finally, it suggests that integrating live streaming with live events and artist partnerships could help brands improve returns on their music investments.
The document analyzes the growth and success of Apple Music since its launch four years ago. It finds that Apple Music has grown to over 60 million subscribers, challenging leading services like Spotify. The service benefits from Apple's reputation and integration across its devices. The document recommends that Apple Music focus on increasing its target audience and using personalized data and community engagement to continue gaining subscribers and closing the gap with Spotify.
The document discusses opportunities and threats in the changing music industry. Major record labels are struggling as physical music sales decline sharply. However, the overall music business is thriving through growing areas like live concerts, merchandising, and licensing. For the music business to succeed, a new model is needed that focuses on full artist brand management and exploitation across all income streams. It must also diversify revenue sources beyond recordings and align the interests of artists and labels. Emerging markets like China and India also provide major growth opportunities if infrastructure and legal issues are addressed.
Music Coco is a proposed data analytics dashboard that would provide a single platform to track key metrics for the music industry in Nigeria. Currently, there is no centralized source of data for musicians, labels, and other stakeholders to measure efforts and make important decisions. Music Coco would analyze metrics like downloads, artist performance, income, and hit predictions to help labels identify successful songs and artists. This would save money and reduce risks compared to the current approach relying on instincts. If successful, Music Coco could help the growing Nigerian music industry become more data-driven.
This document discusses the role of music promoters in small to medium sized music venues in the UK. It defines what a promoter is and outlines their main responsibilities, which include booking artists, negotiating fees, marketing events, and ensuring financial and legal compliance. The document discusses the different types of promoters and the increasing pressures they face from artists, venues, and changing business models. It also examines how UK licensing laws and the growth of social media have impacted promoters' work. Personal anecdotes from promoters provide insight into the challenges of promoting shows in today's competitive environment.
Intone is a music strategy company established in 2008 that helps brands achieve marketing objectives through music. They have over 30 years of combined experience in music-related fields. Intone develops customized music strategies for brands, including market research, campaign development, artist selection and content delivery. They provide case studies demonstrating how their music strategies helped achieve clients' goals such as increased sales, brand building, and media value.
This advertising campaign promotes the first annual Earthbound Music Festival, a two-day concert experience featuring reggae and rock music artists. The campaign aims to sell out tickets to the 5,000 capacity event through print, broadcast, online, and viral advertising targeting college-aged music fans between 17-25 years old. The budget allocates funds for radio ads, flyers at 15 colleges, a Facebook page, YouTube videos, and merchandise. Ten percent of profits will be donated to an environmental charity. The goals are to sell out tickets, establish the festival as a brand, and create a memorable experience for attendees and artists.
This document outlines a marketing plan for Rose Records including details on their artists, target demographics, marketing strategies, budgets, and timeline. Key elements include:
- Artists include The Story, Jon Bellion, and hip hop/R&B. Target market is 16-24 year olds interested in trendy culture and social media.
- Marketing strategies involve rebranding social media, working with local record stores, cooperative ads with DQ, and street teams.
- Budget is $99,998 with expenses like publicity campaigns, flyers, signage, stickers, and website enhancements. Goals include selling out tours and increasing streaming subscriptions.
This document provides a summary of Beka Bishop's education, experience, skills, and profile for an artist management or music business position. She has a Bachelor's degree in Music Business and over 4 years of experience in artist management, social media marketing, and event coordination. Her skills include social media strategy, communication, organization, and adaptability.
The document contains a release schedule and marketing plan for an album release from weeks 1-24. It includes tasks for creating marketing materials like photos, videos, and merch; promoting through social media, email newsletters, and events; and tracking sales goals and projections for digital singles, albums, physical CDs, and merch. The marketing plan aims to build awareness leading up to the release and engage fans to help reach sales targets for generating over $27,000 in total projected revenue.
Of Brighter Skies is a pop-punk band based in Madison, Wisconsin that fuses elements of pop-punk, grunge, and metal. They have been handpicked to open for several bands like Fight the Fury and Boys of Fall due to their distinctive sound and high-energy live performances. Of Brighter Skies also hopes to open for larger bands like All Time Low and Green Day in the future.
A local pop punk band from Madison, WI called Of Brighter Skies released their song "Sweater Weather" on their EP "Nowhere Kids" to serve as an anthem for Midwestern winters. The song expresses the seasonal depression felt each year and brings an upbeat melody despite gloomy lyrics. To brighten winter, the band released a colorful, funny music video for "Sweater Weather" that has gained over 17.5k views on Facebook and 1.3k on YouTube. Of Brighter Skies blends pop punk, grunge, and metal influences and was selected to open for several bands due to their high energy live performances.
The document outlines the weeks and activities for a production of The Lion King over a 4 month period from January to March. Planning, bidding, and booking took place over multiple weeks in January and February. Marketing occurred throughout most weeks leading up to the event in March. Other activities such as budgeting, sign off, the event itself, and tear down were completed within single weeks.
This is my Artist Analysis of Cat Ridgeway and my 1-Year Goal Plan for her. I had the opportunity to collaborate with Shane Jorgenson, Sean Devlin, and Kenny Meyers on this project.
The document provides customer personas for four different types of concert ticket customers - Country, Rock, Pop, and Classical.
The Country customer persona is Drew Owens, a 23-year-old factory worker from Crawfordsville, Indiana who loves country music and attends 10+ country concerts per year.
The Rock customer persona is Ron Davis, a 40-year-old engineering plant manager from Lafayette, Indiana who is a lifelong rock music fan and KISS Army member attending 3-5 concerts per year.
The Pop customer persona is 17-year-old Ashley Smith, a high school student and aspiring Instagram influencer from Zionsville, Indiana who attends 5+ pop concerts per year
Of Brighter Skies is a pop-punk band from Madison, Wisconsin consisting of Jordan Pulley, Alec Prange, Victor Roman, and Philip Laughlin. They fuse elements of pop-punk, grunge, and metal into their modern take on pop-punk, capturing themes of everyday life and heartbreak. Their live shows are high energy, incorporating humor and a distinctive sound. The band values quality music production and evolving their sound while forming a deep connection with fans through authentic lyrics.
Beka Bishop is a student at Full Sail University studying music business. She has over 2 years of experience in marketing, social media, and administration for artists. After graduating in 2020, her goals are to work in artist or tour management, or as a talent buyer. She aims to eventually own her own management business or record label. Beka wants to use her passion and skills in organization, marketing, and management to help artists succeed.
Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
Gender and Mental Health - Counselling and Family Therapy Applications and In...PsychoTech Services
A proprietary approach developed by bringing together the best of learning theories from Psychology, design principles from the world of visualization, and pedagogical methods from over a decade of training experience, that enables you to: Learn better, faster!
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
This presentation was provided by Rebecca Benner, Ph.D., of the American Society of Anesthesiologists, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
"Learn about all the ways Walmart supports nonprofit organizations.
You will hear from Liz Willett, the Head of Nonprofits, and hear about what Walmart is doing to help nonprofits, including Walmart Business and Spark Good. Walmart Business+ is a new offer for nonprofits that offers discounts and also streamlines nonprofits order and expense tracking, saving time and money.
The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
The event will cover the following::
Walmart Business + (https://business.walmart.com/plus) is a new shopping experience for nonprofits, schools, and local business customers that connects an exclusive online shopping experience to stores. Benefits include free delivery and shipping, a 'Spend Analytics” feature, special discounts, deals and tax-exempt shopping.
Special TechSoup offer for a free 180 days membership, and up to $150 in discounts on eligible orders.
Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
1. Page 1
A Market Analysis for
Ruoff Music Center
Rebeka Bishop
Full Sail University
Project & Portfolio II: Business and Marketing
12/16/19
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EXECUTIVE SUMMARY
This market analysis report covers the success and failures of Ruoff Music Center, an
amphitheater venue in Noblesville, IN. It addresses issues that Ruoff Music Center can fix in
order to improve ticket sales and enhance the experience for consumers in hopes that they
become loyal customers. This report focuses on ticket sale success and the tie between the music
industry and the local community. Also featured are recommendations on how to help Ruoff
Music Center grow in the future with examples of switching the general admission lawn from
grass to turf, initiating yearly system evaluations to keep up with advancing equipment, and
refraining from giving too many unsold tickets away for free. Although Ruoff Music Center is
very successful, these are feasible ways to enhance its success. Limitation include lack of current
information regarding 2019 ticket sales which results in this report focusing on 2018.
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Ruoff Music Center Logo
OBJECTIVE
This report was compiled for the managers of Ruoff Music Center to take further action
in improving the venue to exceed ticket sale records and enhance the experience for the concert
attendees in hopes of gaining loyal customers. These actions will help Ruoff Music Center to
further capitalize and continue to dominate the industry.
RESEARCH METHODOLOGY
The information gathered in this report was collected from mostly external, secondary
research sources from online databases and the internet. The information provided is both
quantitative and qualitative. This information was gathered throughout December of 2019 and
most sources were published within the past two years. Information regarding 2019 ticket sales
at Ruoff Music Center were unknown when this report was constructed.
RESEARCH AND KEY FINDINGS.
For Hoosiers, short for Indiana natives, and residents of surrounding Midwest states who
want to enjoy a concert under the stars, Ruoff Music Center is the most feasible option. Ruoff
Music Center is a Live Nation owned amphitheater located in Noblesville, Indiana. Ruoff Music
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Center has a pit, covered seating, and general admission seating in the lawn. Concert attenders will
enjoy their time listening to music surrounded by others who enjoy the same kind of music. Live
Nation is a well-known, household name. With a recent name change in 2017, the new title
sponsor, Ruoff Home Mortgage, was able to connect
the community to the music industry, making it feel
more local (Fort, 2017). Ruoff Music Center also
committed to only serving “locally grown produce
and humanely raised meats” at their concession
stands (Ruoff, n.d.). Recently, Ruoff has allowed
local food trucks to be inside of the venue as well! These actions have not only allowed more
Hoosier businesses to flourish, but also has made Ruoff Music Center feel community based,
which is a likeable Midwestern attribute.
In recent years, Ruoff Music Center has exceeded expectations in ticket sales. In 2018,
Ruoff Music Center was
ranked in the #1 spot for
ticket sales for amphitheater
venues worldwide (2018
Year, n.d.). These results
coincide with how successful the live music industry has been recently and potentially will be in
the future. The live music industry revenue is expected to “increase at a compound rate of 3.3%”
from now into 2022 (Sanchez, 2018). It is possible Ruoff Music Center and other venues will
excel during this period due to high demand for live concerts.
To keep up with this demand and gain from the benefits, Ruoff Music Center hosts tours
in a variety of genres. Three of these targeted genres are Country, Rock, and Pop. Consumers
Pollstar 2018 Amphitheatre Rankings (cropped)
Ruoff Music Center Crowd
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have the option to purchase pit, covered seating, or general admission seats. Consumers who
purchase general admission tickets risk the effects of bad weather including precipitation and
mud. Multiple complaints about mud can be found on social media. The landscaping in the lawn
has become a recent majorly verbalized issue at Ruoff Music Center. Many amphitheaters are
choosing to go to turf grass for easy maintenance (Beautifying, 2013). Turf grass not only is easy
to maintain but could be beneficial to Ruoff Music Center because there will be little to no mud
which will help reduce replanting costs and possibly maintain general admission ticket sales.
Other complaints on social media relate to the sound quality. Potential reasons for these
complaints could stem from dated equipment, positioning of speakers, and incompatibility
between the artist’s equipment and the venues equipment. Artists who have overlooked playing
at Ruoff Music Center could revisit this option if they see that the company is making efforts to
update their facility.
Even though there are many negative comments about Ruoff Music Center, there are
also positive ones. Examples include appreciation for getting a free ticket upgrade, the amazing
line ups, and the unforgettable sunsets on summer nights. This is a great source for natural
advertising for Ruoff Music Center. However, giving unsold seat tickets to general admission
attendees for free might not be as beneficial for Ruoff Music Center as they hope it would be.
Having a concert venue in Indiana secure a notable ranking is a great accomplishment
within itself, but Ruoff Music Center is not excluded from having competition. The Farm Bureau
Insurance Lawn at White River State Park and Bankers Life Fieldhouse are two nearby
competitors, but Ruoff Music Center overwhelmingly trumps these competitors in ticket sales. In
order for the competition to keep up with Ruoff Music Center, many of the competitors are
finding ways to take after aspects of the venue. Although this is flattering, this may bring upon
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some competitive issues for Ruoff Music Center unless changes, additions, and evaluations are
made.
CONCLUSIONS
Ruoff Music Center had the top ticket sales for all amphitheaters in 2018. The success
from Ruoff Music Center is not only from ticket sales, but also from merging the glamorous
music industry and the local Hoosier community. Outside of the success, Ruoff Music Center has
a few problems to target. These issues include the general admission lawn being muddy, poor
sound quality most likely to incompatible equipment, and free unsold ticket giveaways. If Ruoff
Music Center wants to continue being profitable and values loyal customers, the venue must take
action to these issues.
RECOMMENDATIONS
To ensure the longevity of success and enhance the potential of gaining loyal customers,
Ruoff Music Center should consider upgrading the lawn from grass to turf, initiate yearly system
evaluations to keep up with advancing equipment, and refrain from giving too many unsold
tickets away for free. Since Ruoff Music Center is owned by Live Nation, it should be fairly
feasible to switch from regular grass to turf. This will refrain from concert attendees having to
interact with mud. Initiating yearly system evaluations will not only allow for better sound
quality and stage production during concerts but could also peak interest to artists who might not
have considered Ruoff Music Center before. Research will need to be conducted over the sound
systems, stage, lighting, and gear necessary for more theatrical performances (ie Lady Gage,
KISS, P!nk concerts). Concert attendees have shared on social media about getting upgraded
from lawn seats to covered seats for free. Although this a great marketing and company
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appreciation tactic, these tickets could be sold at an extremely discounted price the day of the
show in the box office. Monetarily, this will not make a huge impact on Ruoff Music Center, but
the company will lose less money for each ticket purchased.
In order to accomplish these recommendations, Ruoff Music Center should set goals. By
2022, Ruoff Music Center should have turf rather than grass in the general admission sections.
At the end of each season, Ruoff Music Center should evaluate all systems and assets within the
venue and upgrade when necessary to keep up with the advancing music industry. Ruoff Music
Center should set a goal to also sell at least a quarter of the unsold tickets to present consumers
the day of each show and reflect if giving away tickets will be of benefit to the company.
These recommendations may not bring drastic results of improvement for the company,
but long term, these changes can potentially grow loyal customers for the company and increase
the ticket sales at Ruoff Music Center. Further information about ticket sales for 2019 were not
available at the time of this report. Another report should be developed each year to examine if
these recommendations bring any benefit to the company.
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REFERENCES
2018 Year End Worldwide Ticket Sales Top 200 Arena Venues. (n.d.). Retrieved December 4,
2019, from
https://www.pollstar.com/Chart/2018/12/2018YearEndWorldwideTicketSalesTop200Are
naVenues_702.pdf.
Beautifying Amphitheaters with Synthetic Turf. (2013, July 23). Retrieved December 19, 2019,
from https://synthetic-turf.com/2013/07/23/turf-amphitheaters/.
Fort Wayne's Ruoff Home Mortgage now title sponsor of Noblesville music center. (September
28, 2017). The News-Sentinel (Fort Wayne, Indiana). Retrieved from https://advance-
lexis com.oclc.fullsail.edu/api/document?collection=news&id=urn:contentItem:5PKD-
72P1-JC6P-C12J-00000-00&context=1516831.
Klipsch Music Center. (n.d.). Retrieved December 2, 2019, from
http://www.noblesvilleamphitheater.com/.
Ruoff Music Center Venue Details in Noblesville, Indiana. (n.d.). Retrieved December 6, 2019,
from https://www.livenation.com/venues/14412/ruoff-music-center.
Sanchez, D. (2018, October 26). The Live Music Industry Will Be Worth $31 Billion Worldwide
by 2022. Retrieved December 18, 2019, from
https://www.digitalmusicnews.com/2018/10/26/latest-live-music-revenue-31-billion-
2022/.
IMAGES
2018 Year End Worldwide Ticket Sales Top 200 Arena Venues. (n.d.). Retrieved December 4,
2019, from
https://www.pollstar.com/Chart/2018/12/2018YearEndWorldwideTicketSalesTop200Are
naVenues_702.pdf.
Ruoff Music Center Crowd. (n.d.). Retrieved from https://www.theindychannel.com/ruoff-
music-center-releases-concert-lineup-for-31st-season
Ruoff Music Center Logo. (n.d.) Retrieved from https://twitter.com/ruoffmusicenter/photo