Conrad Withey’s Post

There's a lot of talk these days about whether or not hip-hop music (not to be confused with hip-hop culture) is on the decline in popularity and relevance. When LL Cool J and Kool Moe Dee battled way back in the day, unless you were a hip-hop fan, you probably knew nothing about it. (Shout out to Gen X hip-hop fans!) The Tupac vs. Biggie drama was definitely in the news, but much of that coverage was focused on the violence and deaths of the two stars and not the lyrical content or sales figures of the tracks. With Drizzy and K. Dot, there seems to be just as many conversations about streaming data, global listening habits, and other business angles worthy of LinkedIn conversations as there are discussions between hardcore hip-hop heads about the lyrical sparring. Is that proof hip-hop is actually bigger and more relevant than ever? What do you think? #musicbusiness #hiphop

New Post: Sony Music Chief Calls for Free Streamers to Pay ‘Modest Fee’ - https://lnkd.in/gnNRA4GG - Free music streaming shouldn’t be so free, Rob Stringer, CEO of Sony Music Entertainment, suggested Wednesday during a presentation to Sony Corp. analysts and investors.  The value of paid subscription “remains incredible,” said Stringer in prepared remarks during parent company Sony’s Business Segment Meeting 2024. But recent price increases — by Spotify, Apple Music, Amazon Music, YouTube and, most recently, Pandora — have widened what Stringer called the “price gap” between free and paid streaming. Now, Sony wants streaming companies to get more from their free listeners.  “In mature markets, we hope that our partners close that gap by asking consumers using ad-supported services to additionally pay a modest fee,” said Stringer. “This would help develop this segment of the streaming business to be more than just a marketing funnel for paid subscription and still be a tremendous value for users. We have a shared interest in better monetization of free tiers. At Sony Music, we think everyone is willing to pay something for access to virtually the entire universe of music.” Free streaming provides an opportunity to attract paying subscribers but returns far less per listener than subscriptions. Even though Spotify has 62% more free listeners than subscribers, advertising accounted for just 10.7% of first-quarter revenue compared to 89.3% from subscriptions. Another round of price increases by Spotify this month in the U.K. and Australia portend additional price increases in the U.S. and other major markets. Further subscription price increases will widen the gap between premium and free streaming, and “even if advertising will become a better part of the story, it’s still a relatively small part of our overall revenue mix,” Spotify CEO Daniel Ek said during the April 23 earnings call.  Charging for ad-supported music would break from a long tradition of providing listeners with a free, on-demand streaming option. YouTube and Spotify are the two largest on-demand, ad-supported platforms that stream music. Amazon Music has a free tier with limited functionality. In the U.S., Pandora has about 39 million monthly active users for its ad-supported internet radio service that has less interactive capabilities than YouTube or Spotify. But paid, ad-supported streaming is common in the video world. Video on-demand services such as Hulu and Netflix offer low-price tiers with advertisements and charge higher prices to eliminate advertising altogether.   Sony Music also wants to extract more revenue from short-form video platforms such as TikTok that command huge audiences but provide relatively few royalties. “Premium-quality artistry drives the appeal of these services, with music being central to approximately 70

"It's just not sustainable for artists to focus just on their art." --James Blake ICYMI, James Blake has been posting for a bit about his frustrations with musicians getting caught in the riptide between the demands of social media content machines and painfully low streaming payouts. His new venture, Vault.fm, aims to connect artists directly to their fans with a monthly subscription to access unreleased music. This is totally in line with our mission at TRACE. There are too many gate-keepers and algorithms making it increasingly difficult for creators to connect with their followers, let alone scale to a sustainable payout. We're making it easier for artists and creators to make direct connections with their audiences and fans. If you're a creator who wants a better, easier experience for connecting with fans, join our waitlist here: https://lnkd.in/gpEExwh3 If you're interested in partnering with us in creating this more connected future, we'd love to talk. Drop "Partner" in the comments and our team will get in touch!

New Post: Executive Turntable: WMG Veteran Taking (Temp) Reins of Deezer; Merlin’s Promotion-palooza; New Mega House President - https://lnkd.in/gRCwmx3d - It’s time for another spindle around the Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music. For a summary of all the goings-on at UMG, scroll to the bottom. For everything else, read on! Deezer‘s search for a permanent replacement for the departing Jeronimo Folgueira is underway, but in the meantime the Paris-based streaming service has hired a ringer of sorts to keep the CEO seat warm. Stu Bergen, a 14-year veteran of Warner Music and longtime CEO of the label group’s international and global services division, has stepped in to serve as interim CEO until a new chief is found. Bergen, who left WMG in early 2021, has been a member of Deezer’s board of directors for more than a year and will remain there after the executive search is complete. “Stu’s in-depth knowledge of the music and digital industries, coupled with his tenure as a director on Deezer’s board, positions him perfectly to boost the company’s strategic direction and facilitate a seamless transition,” the company said this week, adding it believes Bergen is perfectly suited to guide them in its international expansion and boosting subscribers in key markets. The company recently posted positive financial results for 2023, with revenue up 7.4% to $524 million and an 11.5% increase in subscribers (thanks to business-to-business partnerships). ”I am honored to accept the interim CEO role at Deezer at this pivotal time,” Bergen said. “I am committed to strengthening the company’s values and driving its growth trajectory forward. With the dedicated team and clear objectives already in place, I am eager to lead us through this period of transition, ensuring the company is prepared for its ambitious future.” Related UMG’s East Coast Labels Reorganize as ‘Republic Corps’ With New Structure 03/15/2024 Merlin, the digital music licensing go-to for indies everywhere, announced an expansive run of promotions and role tweaks at the company. Over on the member and partner success teams, Emma Robinson ascends to senior director of member operations after six years of service; Daniele Yandel was promoted to senior manager of member operations after four years; four-year veteran Jo Danher is now senior manager of member relations; and Poppy Waring (seven years) and Shannon Bradley (three) both step up to senior manager of commercial partnerships. As for the finance fam, Vincent Moyo is promoted to director of commercial finance, four years in

New Post: The Deals: K-Pop Giant YG Brings Catalog to African Streamer Boomplay, Hitmaker to Distribute Blac Noize! - https://lnkd.in/gC3ppaA4 - South Korea-based music distributor YG PLUS, a subsidiary of K-pop powerhouse YG Entertainment (BLACKPINK, BabyMonster), signed a licensing deal with African streaming and download service Boomplay that will bring YG’s catalog to the platform. According to a press release, Boomplay boasts 70 million users. “We look forward to a successful partnership with YG PLUS that will bring their catalogue to new listeners and help connect their artists with music lovers and fans in the African region,” said Boomplay in a statement. Hitmaker Distribution struck a distribution deal with indie label Blac Noize! Recordings, in which Hitmaker founder/CEO Tony Bucher is a partner. Blac Noize’s roster includes HitKidd, Jdot Breezy, Nevi, Toure and Marc Nasty. Related VAI Resort Taps Tixr for $1B Hotel & Amphitheater Complex in Arizona 07/25/2024 Tunespotter, an audio-visual clip database that allows users to search, listen to and view “synch moments” from movies, TV shows, trailers, games and commercials, acquired What-song.com. The deal effectively combines “the data and search power of two leading music search platforms – letting users see, hear, and learn more about sought-after TV or movie moments in a single, easy-to-use place,” according to a press release. “The database we’ve established gives Tunespotter an immediate aggregator and audience,” added What-song.com founder Tom Andrew. “Their ability to empower the user journey with their incredible visual tool chest and social app capabilities extends our reach and consolidates our strengths, positively impacting consumers with more rewarding, long form engagement.” Tunespotter claims that What-song.com attracts more than 1 million unique users per month. Warner Music Brazil invested in and partnered with Sua Música Group, which owns the Sua Música Brazilian music platform and distributor Sua Música Digital. Through the deal, the companies will team up to develop regional artists and songwriters. According to a press release, Sua Música Digital manages the digital careers of and handles royalty management for more than 1,000 artists across Brazil, including Tarcísio do Acordeon, Vitor Fernandes and Thiago Aquino. “The combination of Sua Música’s significant presence in regional music with our national reach and global network will amplify the efforts of both companies and offer artists new creative and commercial possibilities and opportunities,” said Warner Music Brazil president Leila Oliveira in a statement.

As the #music industry evolves, so too do its revenue #strategies, particularly in the realm of #upselling. A recent analysis highlights how #LiveNation is capitalizing on the growing demand for #VIP experiences, which has become a significant revenue stream. This trend doesn't stop at concert experiences; it's indicative of a wider transformation in the industry. As #artists and #companies expand their offerings, we're seeing the integration of VIP strategies across streaming platforms and vinyl releases, enriching the overall #customerexperience while enhancing #profitability. This shift raises interesting questions about #consumer preferences and the future of #music #consumption. How will these strategies influence the way fans engage with their favorite artists? And what does this mean for the sustainability of the concert #industry as it adapts to changing #market dynamics? I invite fellow #professionals in the #music and #entertainment sectors to share their insights on these evolving #monetization methods and what they foresee for the #future of the industry.

🌟 In 2024, we say: Monetize! 🌟 Most Wanted: Music is set to explore how the music industry can achieve record profits while becoming kinder, fairer, cleaner, more efficient, and more inventive. We say: 💼 Monetize artists’ work better: We’ll delve into the best partnerships, funding, and business models for today’s nimble, multi-faceted artists and their collaborators. Learn from those who are making money smarter. 💡 Monetize technology fairly: We'll address the power balance in the complex structure of major rights holders, streaming platforms, and independent players. Discover where opaque spots remain in the system and how they’re being tackled. 🌍 Monetize sustainability and accessibility: Caring for the planet and fair access to music is not the antithesis of making money – it’s a route to new forms of income. See which platforms, skills, and strategies make more money when you do more good. If the human is the most important part of the puzzle, those people must have the equity, agency, transparency, and power they deserve. Join us at Most Wanted: Music 2024 at Kulturbrauerei Berlin from November 12-14, 2024. Get your tickets now ✨and let's ensure everyone in the music industry prospers! #MWM24 #Monetize #mwmberlin 

🚨 The latest issue of #SWOT by Sound Story is here! SWOT is your weekly inside track on the Strengths, Weaknesses, Opportunities and Threats looming for the creative industries. In this week's issue: 👉 Strength: How Streaming Saved the Music Industry 👉 Weakness: When A Rebrand Goes Bad 👉 Opportunity: Show Me The Money 👉 Threat: Radio Gaga

What If the Music Industry Was Completely Democratic? Imagine a world where the music business, streaming platforms, and social media were all entirely democratic. Everyone has a voice, and decisions are made collectively. What would this mean for the current stars and emerging talent? 🌟 Current Stars vs. Emerging Names: Would today’s top artists still rise to prominence, or would this shift in the industry landscape give more opportunities to new and diverse voices? In a truly democratic system, popularity might no longer solely depend on algorithms or celebrity endorsements. Instead, it would hinge on genuine, community-driven support and collective decision-making. This could lead to a more diverse array of voices gaining recognition, while also challenging established stars to continually engage and resonate with their audience. 🎶 Implications for the Industry: Such a change could democratize success and reshape the industry dynamics, allowing for a broader spectrum of talent to emerge and thrive. What are your thoughts on how a democratic approach might transform the music and entertainment world? Would it amplify current stars or open doors for new voices to shine? #MusicIndustry #Streaming #SocialMedia #DemocracyInMusic #EmergingArtists #IndustryTransformation

Universal Music Group has had a bit of a rough start on the public market since its IPO three years ago, following Bill Ackman's decision not to proceed with his SPAC deal, with the stock being flat since the first day of trading. They recently held their first-ever CMD. Here are some interesting facts: → Around half of their revenue comes from streaming, the rest is publishing, merch, physical, licenses and other. → In 2023, 9 out of the top 10 global artists were signed to a UMG label. → Since rumors of an ABBA comeback started in 2018, they have seen a 500% increase in streams. → The paid subscriber penetration rate in China was only 13% in 2023. → UMG has seen an 8x revenue increase and a 25x rise in EBIT in Indonesia since 2015. → UMG's targets for 2028 include a revenue CAGR of over 7% and an adj. EBITDA CAGR of over 10%.