---- WhAt’s beeN IMportANt IN 2010: Access? oWNershIp? lIve streAMs? brANdINg? tAleNt? eNtertAINMeNt? cloud-coMputINg? All of It!
MIN ANNuAl 2010
CONTENTs
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Foreword | Ralf l端lsdorf
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Lowdown: shEddINg ITs skIN | Ari stein
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education: NExT gENERATION TAlENT | Interview with Professor udo dahmen
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cLoud computing: sTREAMINg suCCEss | Christoph lange
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SociaL networkS: hEAd IN ThE ClOud | Martin steinmetz
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Live eventS: MANAgINg ThE CROwds | Jan-Peter wulf
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Live muSic: TOuR MANAgINg fROM ThE TOP | Interview with Jeremy Bates
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innovation: NEw BusINEss MOdEls fOR ARTIsTs | Interview with Benji Rogers
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Live StreamS: MusIC ClIPs 3.0 | silvio Biasotto
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Branding: CREATINg CREdIBIlITy | Interview with Ralf l端lsdorf
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outLookS 2011
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fOREwORd 2010 has been a year of change for many in the industry - new synergies, new ideas and business models have taken shape. The industry as a whole has made a great leap forward, yet old challenges remain. Illegal downloads and dwindling sales still pose serious problems - at the same time, we are once again seeing game-changing technological developments and innovations. Cloud-computing and live streaming are very likely to become the next big thing in 2011, as some of the authors in this annual point out. In this year’s edition, industry insiders highlight some of the trends and developments they have come across in the past twelve months and predict which ones will come out on top in the coming year. deutsche Telekom is an innovations company and we provide solutions. Our view is that we have a lot to contribute in times of change and that we can deliver positive results, even in times of crisis. That is why MIN aims to explore new ways of connecting with music. we decided to launch this network in 2008 to encourage information exchange, while bringing multiple sectors of the music industry together. Thus far, we have linked many key players across the globe and achieved our primary goal: forming meaningful relationships. Part of our efforts this year was the annual day of digital Music, which saw experts explore the new freedoms the digital revolution has bestowed on creativity and innovation. freedom in the digital era is forging new paths for artists, consumers and business. handling this freedom while creating the best experience for consumers and enhancing the rights of artists remains our future challenge. It is with great pleasure that I present to you this third edition of the MIN Annual for 2010. I hope you will enjoy reading it and wish you all the very best for 2011! RAlf lßlsdORf hEAd Of INTERNATIONAl sPONsORINg dEuTsChE TElEkOM Ag
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Lowdown shEddINg ITs skIN The Music Industry in 2010 This year has been all about new ways of doing things. The music industry appears to be coming out of its cocoon. while some might still consider the industry to be in a long hard recession, it’s impossible not to notice that incredible opportunities are also presenting themselves. Alternatives and ingenuity are now the name of the game, writes Ari stein. Ari Stein| MIN EdITOR ANd OwNER Of IMPERIAl MusIC BOOkINg
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Min AnnUAL 2010 shEddINg ITs skIN ARI sTEIN | MIN EdITOR ANd OwNER Of IMPERIAl MusIC BOOkINg
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here is something of a spiral moving within the music industry but no one can decide whether it’s heading up or down. This implies both good and bad things. On the positive side it removes a lot of the institutionalized brawn from within the industry. The CEOs and high-powered executives who have been laying down the law any way they like it just don’t really have that ability anymore. Pricing structures have changed dramatically: Cds have gone from 20 to 25 usd down to 9.99 usd and even less in some places, some seeing this as a serious compromise. Certain parts of the market such as the digital arena, live music sector and publishing have emerged as frontrunners of the profit game. The recorded music sector globally retains a value of an estimated 40 to 45 billion usd, the “wider” industry that also accounts for live, merch and publishing is around 72 billion usd.
OuTdATEd fORMATs hAvE AlwAys BEEN REPlACEd The global demand for physical sales had fallen 12.7% globally in 2009, however, it’s hard to work out what the big fuss is about the demise of Cds, just like the transition from vinyl to tapes and tapes to Cds, so will the exponential growth of the digital format overtake Cds. Other markets like the live sector and publishing have shown slight growth and resilience. In the us alone, concert ticket sales have gone from 1.5 to 4.6 billion usd in only ten years. The live sector globally is now worth an approximate 20 billion usd. The publishing industry is now worth an approximate 10 to 11 billion usd, with slight growth year-on-year. so even in realistic terms the trends are far from bad, but a genuine transition is taking place and it’s hard to tell exactly where. One certainty remains: talent and good music will prevail – as cliché as that may sound. One of the most critically acclaimed acts of the year (which I had the pleasure of booking), Mount kimbie, went from complete unknowns to one of NME’s most influential artists of the year. The 12-month ascent to the top of this young dubstep duo was astonishing.
Their rise to the top began with the formation of a significant scene around them, including James Blake, who is about to release his debut lP on Atlas/A&M/universal, and several other artists. scenes are important for an artist because they help establish a market. grunge, Britpop or even garage rock music are other examples of this but it wasn’t just the scene that helped raise the profile of Mount kimbie; it was the insatiable thirst of the public for something new. Mount kimbie arrived at the right time and was able to deliver this.
A gENuINE quAlITy PROduCT wIll AlwAys BE ABlE TO AssERT ITs wORTh Regardless of the industry, a genuine quality product – or in this case the talent of Mount kimbie – will be able to assert its worth. Art is a representation of the times we live in and if it is able to do this well by providing insight and new inspiration, it is bound to find a measure of success. Artists in turn often become commodities and are sold off as representations of scenes and trends. Majors do a great job of this. Tokio hotel or lady gaga could only flourish on a major label. what’s more interesting about the climate today is the fact that indie labels like xl Recordings, domino and Merge are starting to emerge as clear alternatives to artists who want a ‘major’ career. A pie-chart would show that indie labels worldwide make up about 30 percent of the global market share of recorded music sales, the remaining 70 percent is held by the oligopoly of the four majors.
MORE ANd MORE BANds sEE ThEIR fuTuRE wITh ThE INdIEs In this day and age, Nirvana would have probably stayed with sub Pop and not gone with geffen/universal. fleet foxes, who did stay with sub Pop, have sold over 500,000 records and vehemently said that they will never ever sign to a major. Arcade fire stayed with Merge and Radiohead have moved to xl – and for good reason. These heavyweight bands see a future with the indies. yet, this growing trend of indie bands staying with indie labels, regardless of how big they become, is still unrealistic. why? Because just like the majors, there is only a handful of indies who can subsidize and help artists willing to make a serious career.
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Obviously, things won’t be able to fix themselves and unfortunately illegal file-sharing is here to stay; it can’t be eliminated simply because Pirate Bay and limewire cease to exist or because an executive at the Recording Industry Association of America (RIAA) decides it should be so. The public have spoken loud and clear and we need to listen to them. we need to figure out a way to work with that voice and choose how to move forward. They are as much a part of the industry as the promoters or label executives who sit at their AEg or live Nation offices. Programs like iTunes have been instrumental in setting up many artists’ careers. Maybe not all of them have become successful but nonetheless important. As of february this year, over 10 billion songs have been sold on the digital platform and digital music sales rose by 9.2% to 4.3 billion usd – that is ten times the digital market value in 2004. Even the head of the Beggars group (xl Recordings, 4Ad, Matador), Martin Mills, has recently said that he would have to think twice about carrying on in the music business without iTunes, which has been “fantastic” for independent labels like his.
lIvE MusIC ANd PuBlIshINg hAvE shOwN “CONsIdERABlE REsIlIENCE” live touring has certainly exceeded many people’s expectations over the last few years. The industry has mushroomed almost 10-12%, it has been a profitable business and purely for the reason that it can’t be exported, ripped
and burned like a song or an album. This might change in the future, but for now the live experience will be the clearest model of interaction with the customer for the foreseeable future. Then you have the silently successful world of publishing, which according to the International federation of the Phonographic Industry (IfPI) has shown “considerable resilience” and no one can really see that being affected, either. As long as people watch Tv, listen to radio and interact with any type of media, then royalties will be paid and drawn up for artists and publishing companies. labels can’t afford to take risks within this environment so they do the only thing they know how, which is bet on products that will give them assured success. Artists like Paul Potts, susan Boyle or even Take That who with their new album “Progress” managed a century-best opening tally of 518,000 sales in the uk. for these artists the marketing has already been done and shipped out via successful Tv shows like x-factor & American Idol, on top of the fact that some of them have proven track records of sales. sales are sales, indeed, but there are growing lists of well-known music celebrities who don’t support the getrich-quick scheme, like for example ABBA legend Bjorn ulvaeus and Elton John. The traditional risks taken to develop a newer artist’s careers aren’t there anymore. But for 2011 and beyond, we should welcome the idea that the music will never die, it could just be the antiquated industry, built on huge debts for artists and a cemented hierarchy that might diminish.
TOP 9 hOTly-TIPPEd ARTIsTs fOR 2011 These are some of the artists who have made plenty of waves in 2010. we believe 2011 could be their year... dARk dARk dARk | NEw yORk, usA
sPARk | lONdON, uk
TwIN sIsTER | NEw yORk, us
http://www.myspace.com/darkdarkdarkband
http://www.myspace.com/sparkthemusic
http://www.myspace.com/twinsisterband
CulTs | NEw yORk, usA
wu lyf | MANChEsTER, uk
ClAIRE MAguIRE| lONdON, uk
http://www.myspace.com/cultsband
http://www.myspace.com/trubluloveyu
http://www.myspace.com/claremaguire
flORRIE | lONdON, uk
ANNA CAlvI |lONdON, uk
ThE vACCINEs | lONdON, uk
http://www.myspace.com/annacalvi
http://www.myspace.com/thevaccinesuk
http://www.myspace.com/florriemusic
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edUcAtion NExT gENERATION TAlENT Interview with Professor udo dahmen
udo dahmen is artistic director and general manager of Popakademie Baden-w端rttemberg. In this interview with MIN, udo dahmen talks about the tasks ahead for future talent and the need for new business and copyright models for the industry. Prof. Udo dAhMen| ARTIsTIC dIRECTOR ANd gENERAl MANAgER AT POPAkAdEMIE
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Min AnnUAL 2010 NExT gENERATION TAlENT PROf. udO dAhMEN | ARTIsTIC dIRECTOR ANd gENERAl MANAgER AT POPAkAdEMIE
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do dahmen is artistic director and general manager at Popakademie Baden-württemberg, which offers Bachelor and Master degrees in musicianship and Music Business. The academy has links and organises exchange programmes with schools and colleges in the usA, China, Ireland, sweden, the uk and many other countries. having been a drummer since his teens, dahmen has recorded and toured with international artists such as gianna Nanini, gary Brooker, Nina hagen and kraan in the course of his career. his students have gone on to become professional musicians, such as platinum-selling hip-hop producer Christian kalla aka Crada . how are you experiencing the much-debated crisis in the music industry? how do you see the role of the artist in these times? we are seeing a complete reshuffle of the industry, which is becoming a lot more compartmentalised. At the same time, we are experiencing a push for further globalisation and internationalisation. That has meant that markets have become even more consolidated in the past few years. I have noticed that niche pop music, for example certain types of independent music, have become the focus of the international debate. Artists are aware of this development and are positioning themselves on an international level right form the outset. They may not be able to achieve a reasonable volume of sales in one country, but can achieve a decent result if they add up several countries. I am certain we will be hearing a lot more from Asian and south American music producers, who may not be so well-known in the northern hemisphere just yet. Pop music is an international language, a collective platform. what kind of situation did you experience when you started in the music industry more than 30 years ago? was it a different situation for young artists, maybe not such a long and winding road as nowadays? Every generation of young artists has had to deal with the given circumstances of their time. It has always been difficult in the field of art and creative production, because you have to create your own demand. It can be demand for your personality, your music and your lifestyle. when I started some areas of the business were a lot easier to deal with, others were a lot harder. decades ago, there was a huge demand for live music and therefore greater
financial stability for a lot of musicians – there were many more clubs that you could play at with your band. The big companies had a lot more money at their disposal to develop their own roster of artists. At the same time A&Rs had a much stronger position and acted as gatekeepers. Access to the market is a lot easier nowadays and the means of production are much cheaper. for this year’s future of pop convention, you invited industry experts, artists and journalists to join in surrounding ‘education & Sciences’ and ‘Music content’. You touched upon the following question: what constitutes creativity and how can we support creativity under new terms of use for its recipients? The ongoing debate has still very much got a focus on rights issues and also on online social networks. we are still concerned with legal downloads, copyright and the role of publishers and users. But we have come to a crossroads in this discussion, which has been going on for several years now. The debate was very much led by people who were complaining about the loss of the old system, trying to convince us that we would need to preserve this system. we cannot have a definitive solution just yet to all of these issues. however, the role of the artist is still very much at the forefront of many debates because those who work as professional musicians should be able to make a living from their art. Our society should be able to afford this, even on a grand scale. On the other hand, we need to consider the new ways in which younger generations are using the web for themselves – there has been a shift in perception when it comes to accessing all kinds of information, very often for free. It is quite natural for a majority of young people. That’s why we need new ‘terms-of-use’, new copyright models and new concepts that guarantee artists get their fair share. what would these future models look like in practice? we will need canalised platforms that clearly target certain user groups and offer content that is much more specific aimed at set target audiences, compared to the state-of-play today. Exactly how this will manifest itself remains to be seen, but we certainly need new business
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models. These models are still in development, which is quite natural in times of drastic change. we also need a new set of regulations from government, society and economy, which would secure the general framework and make new business models possible.
think out the box and take an international approach to the industry. Artists should make very specific plans and check out what is happening abroad and ask themselves: what can I achieve in this market, what are the options and possibilities? A lot of the things that appear makeshift and provisional in certain countries could actually mean the future for many markets.
You travel quite a lot. what is the situation like in other countries? does the music industry in other countries have similar problems to Germany’s? is there a similar debate going on? The usA have reached a similar point and are dealing with similar issues. Although it took a little longer for pirating and illegal downloads to have an effect on legal sales. we are now witnessing a similar situation to Europe. however, we find a completely different state-of-affairs in China where copyright laws exist but they are flouted and not implemented. A lot of criticism comes from European countries and rightly so. China is seeing a huge growth in the mobile market and it will soon be the biggest mobile market worldwide, which is something we should be keeping a very close eye on. Most people have mobiles and smart phones are just as poplar as in our part of the world. The Chinese music market will be leading in terms of music sales and consumption via smart phones. At the moment, a pay-as-you-go system is common practice in China – users pay for each downloaded track and all rights are handed over to them. Afterwards, they can then use the track as they wish. It’s a kind of Tin Pan Alley-model, which was commonplace in the 1920s. It is certainly not a model for the future, but we will have to consider integrating such a huge market as the Chinese one into a coherent international sales and rights model.
what would you like to see change in future, for the music industry as well as for artists? It is quite implicit really: we need a completely new model that addresses all rights issues and makes it possible for artists to live off their music and earn a good living from the content rights they sell on. There have to be certain new regulations for that to happen, which individual governments need to take care of. however, this can only happen in coordination with international partners. where individual artists are concerned, I hope they will
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cLoUd coMPUtinG sTREAMINg suCCEss New directions in the digital business A drastic shift is on the cards. Patterns of consumer behaviour are changing fast and technology is opening up hidden paths and avenues. Cloud computing is becoming a driving force to be reckoned with, says simfy founder Christoph lange. chriStoPh LAnGe| fOuNdER ANd CEO Of sIMfy
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Min AnnUAL 2010 sTREAMINg suCCEss ChRIsTOPh lANgE | fOuNdER ANd CEO Of sIMfy
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ever before has the german market seen such a huge number of paid-for downloads as in 2010. Almost 90 million downloads were brought to book until the end of the year – an increase of 43 per cent compared to 2009. In the process, german consumers spent nearly EuR 390 million – a whopping 49 per cent increase compared to the previous January. Even for 2011, trade group Bitkom is predicting a healthy growth of an additional third or more. These figures speak volumes and are testament to consumers’ massive interest in downloading entertainment media such as music, videos and games – it also shows their willingness to pay for them.
“wORk ANd lIfE wITh ThE ClOud” however, the business model for online download platforms may be a lot less future-oriented than you may think at first. The next paradigm shift is already on the cards: 2011 will be the year of cloud computing. Accordingly, organisers of global computer fair CeBit have chosen the theme “work and life with The Cloud” for this year’s event. By summer next year, google is expected to introduce its Chrome Os operating system, which works completely free of locally-installed software; instead, users have access to web applications via the browser. Personal data is no longer stored on hard drives and can be accessed any time from anywhere. Even users who are concerned about confidential data and business files and may not wish to pass them into the cloud may be prepared to access media directly from the cloud – when it comes in the form of a digital stream. The success of services such as hulu or Netflix in the usA has shown that users don’t necessarily want to own their favourite Tv shows and films on dvd or have large files clogging up their hard drives. It is so much more important to watch the next episode whenever you choose or feel like it. In light of these developments, the music industry is also in for a sea change. up until now, physically owning music was a very important aspect in the lives of many music consumers. from vinyl to tapes, Cds and mp3 players – innovation meant storing as many tracks as possible, using less and less space. As a result, music became a lot more mobile. But this progressing digitalisation has gone hand-in-hand with a dramatic change – access rather than ownership, streaming instead of downloading are the new key words. from where we’re sitting, ‘streamers’
are increasingly taking over from “music hoarders”. Music collections are wandering from hard discs into the cloud, mainly because of the spread of mobile devices that are constantly connected to the web. smart phones, laptops and tablet PCs already receive standard uMTs data at dsl speed. In 2011, we will see the advance of the uMTs follow-up lTE, which enables speeds many times those of its predecessor. This makes streaming in regions outside of densely populated areas even more attractive.
sTREAMINg CREATEs AdvANTAgEs fOR ThE whOlE MusIC INdusTRy Exactly that is what our music streaming service simfy is all about: accessing rather than owning music. simfy makes listening to music just a lot more comfortable, regardless of whether you are using the simfy-Player, the website or smart phone apps while you’re on the go. why download single tracks when every song is just a click away? This concept has already proved a success on an international level. Europe’s pioneer is spotify, which now has more than 10 million users and, in its home market of sweden, has overtaken iTunes as the music industry’s biggest seller. simfy is now first-mover with a similiar model in germany and offers its users free and legal access to more than seven million songs, financed through advertising. The premium account offers mobile musical bliss that is free of advertising with apps for iPhone, Android & Co as well as an additional 400,000 songs from warner Music. The concept works online and offline (via previously saved playlists), any time and anywhere. streaming creates advantages for the whole of the music industry, for artists, labels and consumers: those using the model financed by advertising and listening to music for free can be sure that the artists get a fair wage. Those using the flatrate model have access to additional features. The crisis-struck music industry can only benefit from streaming solutions. Partnerships between simfy and popular social networks, such as vZ-networks in germany, ensure large numbers of users and plays, offering labels plenty of opportunities to promote their artists and repertoire. There is no doubt, cloud-based music is the way forward – the sky’s the limit!
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SociAL networkS hEAd IN ThE ClOud how the soundCloud founders changed the online audio game Profile of Alexander ljung and Eric wahlforss, the two young entrepreneurs who swapped stockholm for Berlin to set up a very different social music network – by Martin steinmetz MArtin SteinMetz|MIN EdITOR ANd JOuRNAlIsT
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Min AnnUAL 2010 hEAd IN ThE ClOuds MARTIN sTEINMETZ | MIN EdITOR ANd JOuRNAlIsT
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he streets of Berlin Mitte are full of art galleries, cafés and record shops. Near Rosenthaler Platz is where it all started for online audio distribution platform soundCloud. It’s also where its offices are based these days. There's a team of 20 people who manage the day-to-day running of the portal, providing an alternative to artist networks like Myspace. It wasn’t an easy start for the network’s founders Eric wahlforss and Alexander ljung who together wrote a book on trust in social web spaces. They moved from stockholm to germany’s creative capital in the middle of the 2008 recession. But they ended up becoming one of the industry’s recent success stories: soundCloud reached more than 2 million users worldwide in 2010. The service has also generated great interest from labels and artists who have signed up, including The Prodigy, snoop dogg, kylie Minogue and The smashing Pumpkins.
NEw TEChNOlOgIEs AffECT ThE wAy wE ThINk, wORk ANd NETwORk It was dedication and constant networking that got the two swedes this far. In the early days, they immersed themselves in Berlin's vibrant club scene and mingled with label owners and dJs to get the word out about their new music player. Their academic background also helped: Eric wahlforss studied Industrial Economics with a major in software. wahlforss considers passing 100 apps on the platform and launching a 'record' button both on mobile and desktop among the biggest developments for soundCloud in 2010. he says: "going from Cds to mp3 to links in the last 10 years has meant a lot for people's interaction with music. what's happening now is that barriers are lowered even further - the innovation is on the social layer around music and prosumer type cases." Anyone can create an account and upload tracks to the platform’s servers, but staff keeps a very close eye on copyright infringements, says the soundCloud CEO. "we have state-of-the-art systems in place to detect copyright infringements on the fly. for the cases where technology fails, we have a very smooth and fast takedown process that is monitored 24/7."
ment. "what I’m interested in is the fact that a lot of new technologies have become available for creators - I'm also interested in how these technologies affect not just music, but the way we think, work and network," says ljung.
whEN yOu PREss ‘PlAy’, ThE MusIC hAs TO sTART PlAyINg RIghT AwAy And how exactly does the audio portal with the slogan ‘we Move Music’ work? Its business model is based on premium subscriptions for users with extra needs. The network helps people share audio tracks, dJ sets and members can collaborate on songs. users can stream audio via soundCloud’s servers, with the option of allowing their peers to download songs. The site’s main feature is an embeddable music player, which can be shared on blogs, websites and social media through a widget. what’s more, the player lets users comment on a certain part of the audio stream. "I used to create a lot of sounds for films, so I am aware of the many different ways sound and audio files are produced," says ljung. "They can be nature sounds, sounds of everyday life, interviews, podcasts or music. we don’t want to restrict or choose what kind of audio files can and can’t be published on soundCloud. we are interested in setting up channels where people can be their own editor and upload their own content." little money is invested into marketing because soundCloud promotes itself, he claims. "we are advocates of file-sharing, of forwarding music and audio files. growth is generated solely through users who can send each other files." And how does he feel about music downloads on the web? will they still be around in 2015? "I can't imagine there will be a service or hardware, which dictates user behaviour", says ljung. he claims that people will decide themselves how they want to listen to music and that, in the future, there will be no need to carry an mp3 player. "The most important thing is that you press 'play' and that the music starts playing straight away - where it comes from is completely irrelevant."
his business partner Alexander ljung, a sound designer, studied human-computer interaction and Media Manage-
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Live eventS MANAgINg ThE CROwds lessons from love Parade The german city of duisburg in 2010: a peaceful live event turns into mass havoc, leaving 21 people dead. In its wake, there are calls for new safety standards and valid lessons for the live industry, writes Jan-Peter wulf. JAn-Peter wULf| MusIC JOuRNAlIsT ANd TRENd REsEARChER
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Min AnnUAL 2010 MANAgINg ThE CROwds JAN-PETER wulf | MusIC JOuRNAlIsT ANd TRENd REsEARChER
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hether for big events such as Nature One, sonneMondsterne, fusion and Melt! or smallsize festivals like Nachtdigital, Blauer see and others, thousands of tickets were sold, fans were delighted and organisers were pleased for most of the 2010 summer festival season in germany. Actually, the live entertainment industry has every reason to look forward to 2011, especially when it comes to electronic music festivals. But at the same time, one of the greatest tragedies in the history of the European live events took place last summer casting a long shadow over the future. Twenty-one persons were trampled to death in a mass panic at the love Parade in duisburg. Investigations are ongoing as to what exactly happened that day and there are a great many speculations about the cause of this tragedy. The authorities are pointing the finger at organiser lopavent gmbh for choosing an area that was way too small for a festival crowd of several hundred thousand; they also claim that security for the event was patchy and completely unprepared. lopavent gmbh on the other hand released CCTv footage on the web, which was supposed to show the police’s poor strategy and decision-making, which the organisers believe caused the mass panic. This included footage of officers temporarily closing the entrance. without wanting to predict the final outcome of the investigation, there must have been a chain of events and individual decisions that – when combined – led to this tragic end of the love Parade.
CAlls fOR NEw CROwd sAfETy sTANdARds Many industry players are asking how to prevent such a tragedy from happening again. It is essential that we learn a few valid lessons from the events that took place. we should therefore identify weak spots and develop improved mechanisms to avoid mass havoc ever happening at festivals again. Just how nervous the live industry was during the first night of Berlin festival in late summer 2010 was evident. Just a few weeks after the love Parade the festival came to an early close due to concerns that the area in front of one of the smaller stages was getting over-crowded. This general insecurity is the reason why there have been calls
for new crowd safety standards. A lively debate on the subject took place at hamburg’s Reeperbahn Campus in autumn of 2010.
NEEd fOR wEll-TRAINEd PERsONNEl ON All lEvEls Among the panel experts were Jens Michow, head of the Bundesverband der veranstaltungswirtschaft e.v. (germany’s live entertainment association), henrik Bodo Nielsen, Manager of Roskilde festival – which ended with the death of nine fans during a mass panic in 2000 – as well as Chrissy uerlings from the safety focus group (sfg), a leading expert in security and safety measures. All panellists strongly agreed that there needed to be a third-party mediator to implement well-prepared safety plans. This mediator should ensure that all parties involved – for example, organisers and the owner of the festival site – would agree to take full responsibility together. The discussion also circled around the job of the crowd managers and the necessity for them to have a thorough background and training. for example, British universities offer degrees in Crowd and safety Management. Crowd managers who finish this degree learn how to conduct a site survey and risk assessment for outdoor events, they have to do a research project and train to teach their own staff at a highly professional level. sfg representative Chrissy uerlings criticised the inadequate academic research done on crowd management in Europe, mainly due to the insufficient funding raised for studies of this kind. “Only these degrees can pave the way for innovative thinking and knowledge needed to form the basic framework for new laws that should become binding for all parties involved”, he said.
whO PAys ThE PRICE If NOThINg ChANgEs ? some of the first innovations in this field are coming from frauenhofer Institut in sankt Augustin near Bonn. Movement, pace and directions of festival crowds can be monitored, using newly developed software. The movement and concentration of crowds in one area can be distinguished visually through different colour schemes and contrasts on the monitor. This can help detect the causes of a mass panic and prevent tragedies
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from happening – a kind of warning system. Although, this is still not really sufficient. An early and anticipatory safety plan should eliminate threats and safety breaches way in advance. The fact that the industry claims to be lacking the funds to draw up such schemes seems baffling if we consider that the live entertainment industry has been doing rather well in the past few years, despite a slight drop in turnover. In germany alone around 2,27 billion EuR were spent on live events in 2009. The industry may now have to cough up and invest in independent scientific studies, while also working on its own innovative crowd safety standards, and not just for individual events. Only a binding consultation with independently operating ‘crowd managers’ can make up for the lack of knowledge and routine some organisers of live events may still have. Of course, it comes at a price. But the alternative of doing nothing could end up costing a whole lot more. what’s more is that organisers will have to recalculate their budget plans anyway, due to tightening regulations in the wake of love Parade. Passing the cost on to festival-goers also has its limits and may not be such a good idea; ticket prices for many festivals are reaching new heights and even die-hard fans will start thinking twice before diving into the crowd. The reason why fans turn up at live events – the unique live experience combined with memories that cannot be copied or reproduced – should not be compromised or undermined, especially not in these times that digital music so prevails.
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Live MUSic TOuR MANAgINg fROM ThE TOP Is there space for new artists in an overcrowded touring market? The live industry has resisted most of the wear and tear from the music business decline. The people who shape this sector, organize it and lead it, are the elusive tour managers. Jeremy Bates is undoubtedly one of the most respected tour managers in the industry. Taking some time out of his hectic schedule, Bates shares his views on the current state of the market and how it should best proceed. JereMY BAteS|TOuR MANAgER Of ThE kIllERs
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eavily accomplished and experienced. Mr. Bates is a rare entity in the fast paced and shaky world of Rock'n'Roll. A man who has been in the business for over a decade, his career began in his hometown of Toronto, Canada working with smaller bands such as stellastar. It was this experience that led him directly to an up and coming band out of las vegas called The killers. little did he know where that would all lead! Jeremy Bates has been privy to a fulfilling and exciting life on the road most folk in the music industry would give their right arm for. when not looking after The killers, he is looking after bands like Editors, The xx and MgMT. Mr. Bates, what were the biggest challenges for the live industry for 2010? The biggest challenge was to figure out how bands can stay afloat and support themselves, play shows, find an audience without the help of labels, as the notion of label tour support is quickly fading. And how do both the venues and the bands stay afloat without this? The smaller venues cannot stay afloat anymore, because of rising rents and also the fact that bands can’t afford to travel far distances and make enough cash to get there. with no tour support, bands can’t travel, they can’t survive, you can’t have five to six people on the road, accommodation, P.d.s, etc. and survive like this. And then the reason independent small clubs cannot survive is because the rents go up and no one’s gonna drive from out of town to play to 100 people for 100 quid, it’s not worth their while. young bands lucky enough to get a support slot for an established act are still going to be paid between 50 to 100 gBP. without help, it’s just not feasibly possible. This doesn’t even cover fuel, let alone a vehicle, accommodation and – god forbid! – some food. the bigger bands are doing ok? yes, some are not selling as many tickets as they once used to, but you have to think, the shelf life of a band may not keep growing and growing anymore. A band that can play arenas on their current album may not be able to play them again on the next album; this doesn’t mean the industry is failing, it just means their album was not as successful this time around, the songs didn’t resonate with as many people this time around. It’s all related to
the current technological climate. As music is becoming more easily accessible to people, they are becoming less involved and interested in the same old bands, every time they release that same old record. we have access to so much more than what is just being fed to us via radio/ press. People’s interests are varying as a result, hence the nature of the industry changes along with that. As a tour manager for bands like the XX, MGMt and your full time band the killers/Brandon flowers solo tour, do you see a huge difference in working with the newer bands on the road as opposed to more established artists? The smaller bands are a fun ride as they don’t have much to lose, they’re just enjoying the process to begin with, whereas the bigger bands feel like there’s a lot they have to prove, they need to hold on to what they have and that can sometimes make for an intense environment. There's definitely excitement involved when working with a band, which is 'on the verge'. The energy in the room is electric, the band and crew are happy to be there and again: they have nothing to lose, they haven’t experienced the success yet. The crowds are frenzied, wanting as much as they can get at that moment and you can’t help but feel excited to be part of something so special. At the end of the day, you start in a van, move up to a bus and maybe a plane – if you’re lucky, you stay there. do you think the monopoly held by Live nation and AeG is suffocating the live market? variety keeps things interesting, a monopoly in any one industry does not often end up being the healthiest situation. look at the computer industry, there’s Microsoft and Apple, anyone else that wants to even attempt an introduction has no chance. If the big promoters own all the venues, they can afford to lose cash on the guarantees they pay, because they’re getting the rent on the drinks and the bar. A young promoter coming in has no chance, he cannot match the offer of the big company and all he can do is make money on the live show itself. he is not making money on the sponsorship, the booze, the merchandise. There should definitely be some level of respect and sensitivity for the younger and smaller promoters trying to make a go of things.
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what do you enjoy about your job? someone once described my job as like being the Captain of a ship. And at times, that’s exactly how it feels. I dig that role. I’m an organizer in spirit. so, there really is no greater thrill than to work towards something extraordinary, like headlining glastonbury or building a two year world tour from scratch and then seeing it all come together at the end of the day. I enjoy the travelling, sight seeing, I’ve been to countries and cities I probably would not have seen, were I not touring. I’ve met some incredible people, witnessed some bizarre and wonderful things on the road that I am certain will stay with me forever. And of course the lifelong friendships you make are invaluable. All these people are experiencing a similar life to yours, on and off the big ship at different ports. Again, it’s much like the life of a restless sailor. And then, most importantly, I’m a music fan. I love watching the different reactions from the different audiences around the world and how the music affects them. Nothing excites me more than hearing a brilliant new band or watching your favourite artists get up there and give it their all. so in all those respects, I love what I do. where do you see the live touring industry heading in 2011? I see bands having to go out and do it on their own. with the obvious lack of support and funds from labels, this will become more of a challenge, however, bands will figure out ways to do this autonomously. And as we’re already seeing, there are more investment schemes that are aiming to help bands out in the way labels cannot and will not anymore. Otherwise, I don’t see huge changes in live music, because music in its live capacity will always give people enjoyment. It’s always going to be there – whether on an international level or on a more domestic level. No matter what changes around us, nothing in the world can substitute the feeling you get when you're in the audience eagerly anticipating your favourite band walking on a dimly lit stage, pick up their instrument and play that first chord of that first song. This feeling is irrespective of your age, the venue you’re at or whether the band is a new or old favourite. That’s why we go to gigs, that’s why I work for bands. whether behind or in front of the stage, I get the same rush, every single time. Once a punter, always a punter!
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innovAtion NEw BusINEss MOdEls fOR ARTIsTs Interview with Benji Rogers Artists are always looking for new ways to connect with their audience, even more so in this rapidly evolving music industry. Benji Rogers is an Englishman who heeded the call and decided to set up a website called Pledge Music in August 2009. Making the middle-man obsolete, is this the last frontier? BenJi roGerS| fOuNdER Of PlEdgEMusIC
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ledgeMusic is a timely response to the way major labels have been manhandling their artists. This new business model allows artists to set an amount they want to raise and set incentives for fans to pledge money for these rewards. They can be anything from autographs to spending a day with the band. The latest addition to the PledgeMusic hall Of fame is legendary 80s new wavers, gang Of four. is PledgeMusic a response to the music industry climate? PledgeMusic was conceived as a response not so much to the climate in the music business but more to the climate and changes in the business of making music. It was created to interface with the music industry and to run as a stand-alone option and/or in parallel with what exists now. what do you think the record labels feel about this fanfunded assisted model of doing business? They have been split down the middle really. we have run campaigns for majors and indies to great success and I can see PledgeMusic’s business moving further in the direction of integration with labels rather than away from them. If the labels bring us to the table before the release of an album, we front load the release with money, swell the database and social networks and do all the heavy lifting with no upfront cost to any of the parties. whether we raise £5000 or £500,000, it’s found money that they didn’t have in the first place. All of our data points to the fact that a Pledge campaign drives sales when released conventionally because the super fans are the voices that the more casual fans trust more than the press or radio. In short, there is nothing for a label to lose in working with us. Artists make money, the label gets promotion/money, sales increase, charity makes money, fans are happy. Nobody loses and there is nothing to repay. what label would not want all the above to run in conjunction with what they were going to do anyway? They just do it with more money in the pot from the first day.
is the industry at risk or in transition? And can PledgeMusic provide a way forward for artists looking to avoid contracts, lawyers and further complications down the road. I think it depends which ‘industry’ we are referring to. As above, I create a distinction between the "music business" and the "business of making music" as they are totally different. The traditional music business of selling volume is over. This will become more apparent once the streaming models truly take hold. I think we are at the beginning of the end for that business. The buying of tracks and albums will shortly seem as outdated as rotary phones. That being said should artists want to follow the route of signing with a label there is no reason that they should not do so. It just depends on the deal. Our label, PledgeMusic Recordings was started, along with our publishing company, because we realised that the Pledge system is an incredible A&R tool. It lets us know exactly where the artist stands in terms of fan base and we can project with amazing accuracy the way in which an artist’s work will be viable in the market place. It's about choices and options. Many of our artists have been signed to labels from the Pledge platform because they were able to show the label their earning potential before they even stepped into the studio. so in one sense a Pledge campaign serves as incredible due diligence tool for any label looking to sign an artist. studios and producers send a lot of work our way, as there are few accurate ways to test the viability of an act these days especially among emerging talent. kickstarter and Sellaband are other similar models of fan-assisted websites, some having more luck than others. Are you competing against them, or do you feel it’s good to have more of these models in the market? It's funny but I don't see it that way. In one sense it's great that artists have options. In another, PledgeMusic tends to get lumped in with all the ‘fan/Crowd funding’ platforms though we are in essence different from them. I view PledgeMusic as a direct-to-fan platform first and foremost. I just don't believe that fans want to fund anything. fans want and seek inclusion, participation and experience - not commerce.
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Artists retain all ownership of their music. have there been or can you foresee issues arising from this? None at all. It's wonderful watching artists move on from the Pledge system and onto deals and greater success. It's an odd thing to have labels, managers and other industry types looking to us for what is looking promising in the system. we built our label and publishing company to be another option for certain artists that we feel that we can help in a further capacity. Our artists have been asking us to start a label as well since they have enjoyed the way we work. It's really an extension of what we started. could PledgeMusic support a band like radiohead or Arcade fire, able to raise a $1 million for touring costs, merchandise costs or any other larger outgoings?
your business is in the selling of tracks and albums, this makes what we have built even more important as artists and labels will need the finances that we are able to raise for them to bring their music to market. what will be your biggest challenge in moving forward with PledgeMusic? There are two as I see them. The first is going to be to maintain the level of service and excellence that we have achieved so far as we scale for more and more artists. The second really is to get the message out about the differences between what we do i.e. direct to fan and what fan/ crowd funding sites do. we are a music company with a new approach and I don't want to be seen as just a place that solicits donations. These are the challenges as I see them at the moment. That and getting enough sleep.
we have modelled them and the numbers stack up and look amazing. To be honest though, what makes these campaigns special is the exclusive direct-to-fan aspect and so for bands of this size and calibre, we would focus and pare it down to an amazing offering to a smaller number of fans and in that there would be a larger charity component. There is also a limit to what bands can physically do in terms of signing and personalising things. The PledgeMusic system was built to scale to this level though and the financial returns would be enormous. we are planning these sorts of campaigns in the future and it's just a matter of time before one comes out in this way. what is your outlook for the music industry in 2011? I think this all depends on what happens with Apple and google. sales will decline sharply once the streaming models truly take hold and this will change the industry indicators for success radically. If you look at the revenue streams from these services [spotify or simfy], they will not and cannot equal what sales were. Once people start to stream I feel that they will not return to a buying model. I don't see why they would, when there is simply no incentive to do so. I can see albums being released straight to Ping and thereby aggregated through social networks completely bypassing all of the sales structures that are in place and whilst this is not good if
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Live StreAMS MusIC ClIPs 3.0 why live-streaming is the new music television youTube’s claim “Broadcast yourself” might get a new twist very soon – never before has live video streaming technology been this affordable and easy to use. Artists and labels will soon regain control over their public image, says silvio Biasotto. SiLvio BiASotto|ORgANIsER Of M4MusIC CONfERENCE & fEsTIvAl
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Min AnnUAL 2010 MusIC ClIPs 3.0 sIlvIO BIAsOTTO | ORgANIsER Of M4MusIC CONfERENCE & fEsTIvAl
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n the release date of his unplugged album in 2010, swiss soul singer seven performed an exclusive online concert. fans submitted votes, requested songs and asked questions via facebook. At the same time, seven encouraged his fans to post photos of themselves on his facebook wall. during the live broadcast, the singer gave his audience a tour of the studio and announced his upcoming tour. The highestcirculation daily newspaper 20 Minuten supported the event and ran a front-page story on seven’s online event – it was a first for switzerland. In October 2009, pop giants u2 broadcast one of their huge shows as a youTube live stream. But the swiss singer demonstrated this is now possible on a much smaller scale. The prognosis is we will see an increase in similar live events in the course of the year - mainly because of a technical and economic shift in this field. Nowadays, broadband connections with suitable upstream volume are standard. In addition, highly-efficient compression codecs help to keep file rates at a low (h.264/MPEg 4 for images and AAC for sound). It means is you can broadcast from anywhere in hd quality with a resolution of 720 x 480 pixels. Even the simplest webcams will do the job. Early 2011 will see the launch of livebeats.com, a site dedicated to live music streams. There are a number of reasons why live streaming will become a popular topic of debate in 2011: Live streams are a much better promotion tool than music clips
demonstrated that this concept can work, first on a live basis and subsequently on demand. fans who visit the classical music performances can take home a memory stick or dvd of the recorded concert or download it from the website at a later date. Artists and labels decide on format, production and timing of their appearances. As a result, unfavourable clips on youTube with bad sound levels and poor picture quality become less appealing to fans. labels and artists are no longer just content suppliers and become very much independent of music television and related media. Live streams also involve chats and social media fans and artists come face-to-face at live performances. live shows are direct and authentic. And they work just as well broadcast, remember the huge success of MTv’s unplugged series? But the main difference to music television is that fans are not watching it on their own, they can simultaneously chat to their peers. This opens up a new dimension with a unique entertainment value. Chats can also be used to interact with artists. There are now five global live stream providers who offer users the chance to embed streams into facebook, the web’s second most important video platform and its most prominent social network for sharing. Live streams have novelty value and are a hot topic of debate
Music clips are still being used to promote the release of albums and singles. Their effect and reach diminish over time because the product is no longer up-to-date. live streams, however, allow for targeted promotion. They can, for example, be used as teasers to promote the start of a live tour. Record promotion also becomes much easier; the first studio sessions for a new album can be shown via live stream. This technology also offers new opportunities to boost fan loyalty and win over new supporters.
web videos are popular: in the usA 177.6 million web users watched an average of 14.3 hours of video content in August 2010. live streams are still a novelty, even in this segment of the market. users hardly know this application and will want to experience it for themselves. quite a few bands and labels will try to raise their profile and become early adopters. Especially the option of embedding a live player in social networks such as Myspace and facebook, which when combined made us users access videos 243 million times in August 2010, makes this a very attractive medium.
Live streams create business opportunities
it’s not just about content - format is king
Online streams can be offered as paid-for events, this way even a sold-out show can continue to generate revenue. The Berlin Philharmonic’s digital Concert hall has
live streams are not just about content, but it’s the concept, the idea that matters. In future it won’t just be about adapting common formats such as interviews and
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live broadcasts, but to recognize live moments as being worthy of their own category and about making the most out of these moments. Another interesting example from livebeats.com stable: frankfurt-based record shop freebase, well respected in the house and techno scenes, has created its own format freebase Tv. It is a sales show for dJs with a twist: every two weeks, the shop owners present new releases from their own repertoire and invite renowned guest dJs such as Roman flügel, Tiefschwarz or Timo Maas to play on air. viewers can fill their virtual shopping baskets during the show, and pick up their order the following day. This example shows that there is room for profitable business concepts outside of live shows and events. It’s not just about content – format is king. Livebeats: the first social media platform for live streams In early 2011, livebeats.com will have its online launch. The Zurich-based platform offers quality standards that can match those of other major providers in the market: streams up to hd quality, chat, social media sharing (facebook, Myspace), a flexible live player application with the option of including respective e-commerce and sponsoring offers. In addition, livebeats offers content recording, online ticketing, an integrated easy-to-go payment system and other features. The focus will be music live streams. livebeats is designed to be a social music network, similar to soundCloud in concept. Musicians as well as fans can create their own profile on the platform. fans can follow their favourite artists and artists can send newsletters to their followers. It seems 2011 will be the year that “Broadcast yourself” takes a decidedly new twist.
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OuTlOOks 2011 Music Insiders share their personal outlooks for 2011
Annie corriveAU | AdriAn StrAin | MicheLLe owen | JULien GAGneBien | chriStiAn kALLA AkA crAdA
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Min AnnUAL 2010 2011 OuTlOOks ANNIE CORRIvEAu | AdRIAN sTRAIN | MIChEllE OwEN
ANNIE CORRIvEAu dIgITAl MusIC MARkETER AT lIMBAsE
AdRIAN sTRAIN dIRECTOR Of COMMuNICATIONs AT IfPI
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obile, mobile, mobile... and did I say mobile? yes, 2011 will see a continuance of the exploding trend of consumer purchasing using mobile devices. It has been predicted since the beginning of mobile, but now with the range of smart phones and tablets at affordable prices the technology is truly in our hands. 2011 will see a dramatic roll out of technology that essentially makes your smartphone become your wallet. Tap your phone to pay and your all-in-one debit card/ receipt tracker may instantly offer you a variety of loyalty programmes. And this will be giving the smart marketers great metrics, analytics and market information. After years of talk, wireless carriers, banks, startups, and handset makers across Europe and the us are now actively working on making this a reality. But, of course, the Japanese are way ahead of the race as they already have this infrastructure in place. "Right Touching" will be the buzz word that replaces "online marketing", as the latter is now too associated with fragmented and poorly integrated strategies that failed to understand the uniqueness of each online platform. for example, points of purchasing music online will have to be streamlined for mobile and not treated the same as 'standard' computers. A key digital marketing trend will be cutting out clicks and cutting out steps for consumers to purchase - in the case of the music industry - singles, albums, tickets and merchandising. Broadband and mobile speeds are set for exponential growth. for example, trial versions of 1gb/s broadband is being tested across the uk. general increases in connection speeds are going to make live streaming more appealing and relevant for marketers. I see these trends as being the most influential in affecting how smart marketers in the music industry will attract and engage with consumers.
- Annie Corriveau runs limebase, digital marketing & online PR, People Relations for artists. she is originally from Montreal and has lived in Ireland for the past six years. she loves music, new technologies and innovative marketing. find out more at http://limebase.ie
n a digital world where consumers engage with music in new and rapidly changing ways, record companies have transformed their business models and licensed more than 13 million tracks to around 400 digital services worldwide. The main barrier to growth, however, is rampant online piracy, which, despite digital sales reaching nearly one-third of industry revenues, continues to swamp attempts to forge a legitimate digital music business. The digital market has seen new services proliferate. They range from download stores to subscription services, IsP bundled offerings to video channels. One big issue for 2011 will be the progress of new ‘music access’ and subscription models. deezer, slacker and spotify are among the streaming services that have built up large numbers of users, converting a significant proportion of them to paying subscribers. IsPs including Eircom, Telefonica and Telia have launched their own services, either as standalone offerings or in partnership with third-party music services.
Record companies are focused more than ever before on different segments of music consumers. An increasing number of services are aiming at ‘lean back’ consumers, who enjoy music but are not engaged fans actively seeking out new artists and tracks. Record labels are increasingly responding to the desire of music fans to access their collections anytime, anywhere. A number of projects are planned to offer cloud-based services that will enable fans to access their music collection on their stereo, computer, television, game console, telephone, MP3 player and in their car. All these developments cannot ultimately succeed unless the illegal distribution of music online is addressed. There was progress on anti-piracy legislation in 2010, with france and south korea leading the way with the ‘graduated response’ laws called for by the music industry. Pressure from creative industries will be stepped up further in 2011, to make sure the Internet becomes a place where it is possible to develop a range of legal digital music businesses to maturity.
- The International federation of the Phonographic Industry (IfPI) has been monitoring the global music business since 1933. Its current spokesman and director of communications is Adrian strain. visit http://www.ifpi.org
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CONTRIBuTORs ARTIClEs
© hORsT hAMANN
RAlf lülsdORf hEAd Of INTERNATIONAl sPONsORINg, dEuTsChE TElEkOM Ag
ARI sTEIN MIN EdITOR ANd OwNER Of IMPERIAl MusIC BOOkINg
PROf. udO dAhMEN ARTIsTIC dIRECTOR ANd gENERAl MANAgER AT POPAkAdEMIE
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JEREMy BATEs TOuR MANAgER Of ThE kIllERs
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OuTlOOk
AdRIAN sTRAIN dIRECTOR Of COMMuNICATIONs AT IfPI
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TO JOIN ThE MusIC INdusTRy NETwORk (MIN) PlEAsE REgIsTER AT: www.MINBlOg.NET/REgIsTRATION
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