IMS Consumer Report 2012 A world tour of dance music consumers Based on 750,000 interviews
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IMS Consumer Report 2012 A world tour of dance music consumers Based on 750,000 interviews
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Summary (1 of 4) Sec:on 1: Our audience(s): Don’t forget the 70% § We think that our audience has money, is passionate and has =me to engage with dance ... but actually only 30% of people passionate about dance / electronic music are ‘engaged consumers’ § 70% of people passionate about dance / electronic music are ‘less engaged consumers’: they are either too young to have money / be clubbing, have children who have got in the way or are just not cool § We spend too much of our =me thinking about the 30% who are engaged consumers and not enough thinking about the 70% who are less-‐engaged consumers Sec:on 2: So what? ... Experiences § We can be beIer at delivering experiences. This is mostly for the engaged consumers, but if we’re smart about it we can also reach many of the less-‐engaged with them, too ... Guidance § We need to be beIer at delivering guidance. This is mostly for the less-‐engaged consumers who desperately need guidance from trusted sources to avoid them losing contact with dance music
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Summary (2 of 4) Sec:on 3: Where in the world § Note: all data used in this sec=on will be made available aMer Wednesday here: hIp://links.emi.com/imsconsumerreport – 7 high level genres, 45 detailed ‘sub-‐genres’, Decade-‐by-‐decade appeal of Rock, Pop, Dance / Electronic – By age, gender, age-‐gender, all people. Metrics: Millions of people and percent of people – Australia, Belgium (Flanders and Wallonia), Brazil, Canada, Denmark, Finland, France, Germany, Greece, India, Italy, Japan, Mexico, Netherlands, New Zealand, Norway, Portugal, South Africa, Spain, Sweden, UK, US § ... consistent themes – Passion grows from age 13 to age 24. We should work hard to get dance music into the lives / spaces that work for young people to grow their passion sooner. – Passion peaks between ages 16 and 24. We should super-‐serve these people to increase their engagement (see ‘engaged consumers’ above) – There is a steady decline in passion from age 25. We should recognise their needs and meet their needs with dance music to slow the decline (see ‘less engaged consumers’ above) – There is a language problem. The most popular dance genre amongst people passionate about dance / electronic music is ... ‘dance’ -‐ they don’t know how beIer to describe what they like.
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Summary (3 of 4) Sec:on 3: Where in the world (con:nued) § ... US – Dance / electronic music has only half the passion that Rock music does, even for young people. It has a similar level of passion to Urban music. It is rivalled / beaten by Country music, even for young people. – The US has liIle passion for dance (16th of 17), it has the most people who are passionate (1st of 17). A small increase in passion would make a big difference in the number of people who are passionate. Is that what we’ve seen in recent years: just a small change in passion that meant a big new audience? § ... UK – Passion for Dance / Electronic music rivals that for Rock music up to age 25. It’s consistently more loved than Urban music. It has no rivals beyond Rock, Pop and Urban. – One of the most passionate (4th of 17) and biggest (3rd of 17): the ‘biggest developed market’. § ... US vs UK – The most passionate age group (16-‐24) are only half as passionate (57%) about dance / electronic music as they are about the biggest genre. In the UK they’re almost as passionate about dance as they are about the genre they’re most passionate about (87%). – There is no evidence that dance is ‘older’ or ‘younger’ in the UK or the US. The paIern by age is similar in the UK and the US -‐ it’s just propor=onally bigger in the UK. – In the UK dance is preIy mainstream (less engaged consumers are about 75% as passionate about dance as the engaged consumers are) whereas in the US it’s not very mainstream at all (less-‐engaged consumers are only about 56% as passionate about dance as engaged consumers are) – Passion for the different genres of dance music are similar in the US and the UK. Except for Drum n Bass which is more popular in the UK. And except for Techno because the word is oMen used in the US to describe dance / electronic music overall. Page 4
Summary (4 of 4) Sec:on 4: The brand image of dance – People passionate about dance / electronic music describe it as: Cool, Upbeat, Energe=c and Edgy. – People not passionate about it describe it as: Boring, Annoying, Intrusive, Superficial and Noisy. – The same ar=st is oMen described very differently in different countries. Always as ‘Energe=c’, but some=mes as Edgy and Upbeat (France), some=mes Cool (Germany, UK), some=mes Catchy (UK)
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DANCE
Brian Eno
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We also data. Wait: What?!?! § EMI is on the way to a million high-‐quality, detailed, interviews with all sorts of people all around the world about music – Twelve people around the world are being interviewed for EMI at any given moment. 24h a day, 7 days a week
§ We love how helpful the results are, alongside skills and judgement – Hear the data’s challenges and be smart about which / how you go get them
§ We’d like to share some of that today (and every year … if you like it) – This presenta:on and the detailed data behind it will be online for you. We hope you find other pa]erns and uses for it. Please share!
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Agenda
IMS Consumer Report 2012 1. Our audience(s) 2. So what? The role of experiences The role of guidance 3. Where in the world
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Part 1: Our audience
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our audience:
Self-defined
People who like a lot or love dance / electronic music
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K N I H T e W this is
our  audience: Â
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… but … y l l a u t c a 100%
80%
60%
40%
20%
0%
our audience:
People who like a lot or love dance / electronic music
I enjoy music primarily from going out to dance or Music for me is all about nightlife and going out
6%
100%
80%
Paid for digital music often
60%
40%
20%
0%
12% Page 12
… but … y l l a u t c a
our audience:
People who like a lot or love dance / electronic music
In the last year:
34%
been to a club with guest DJs
26%
been to an electronic / dance fesAval
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… but … y l l a u t c a
our audience:
People who like a lot or love dance / electronic music
58% 26%
in the last year:
been to a regular club night been to an electronic / dance fesAval
34% 15%
been to a club with guest DJs been abroad for music (e.g. Ibiza)
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… but … y l l a u t c a
2%
our audience:
People who like a lot or love dance / electronic music
7%
10%
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30% of our audience:
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our audience: h c u m o o t d n e p We s of our time g in t e k r a m d n a ’ on ‘products for this group
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70% of our audience:
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70% of our audience:
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our audience:
People who like a lot or love dance / electronic music
58%
Music is important to me, but not more than other interests or I like music, but it does not feature heavily in my life
60%
Pop music is fun, it makes me feel good
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70% of our audience: d n e p s ’t n o d e W e im t r u o f o h g nearly enou g in t e k r a m d n a on ‘products’ for this group
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Part 2: So what?
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30% Engaged
70% Less-‐engaged
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30% Engaged
70% Less-‐engaged
Change the balanc e, depending on the consumers Don’t forget guidance you’re after n o Focused on d Focuse Less-engaged Engaged Consumers consumers hem!) t ly n (but not only them!) o t o (but n
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5 Examples
§ Gedng consumers closer to the lifestyle. Swedish House Mafia’s Take One § From ‘live’ to an experience to die for. Swedish House Mafia’s Masquerade Motel § Bringing Live to the Mainstream. Deadmau5’s Earl’s Court USB § Engaging fans online. Deadmau5 § Merch that fits the lifestyle. Pacha
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Gedng consumers closer to the lifestyle with Swedish House Mafia’s Take One Every type of consumer found Take One in a way that works for them: exclusive cinema screenings, on TV, internet exclusives, in the deluxe album, as an iPad app and in book form. We don’t usually reach so many different types of consumer with one set of ‘assets’
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From ‘live’ to an experience to die for with Swedish House Mafia’s Masquerade Motel Swedish House Mafia took a residency in Ibiza’s Pacha nightclub to another level with the branding and mys=que of Masquerade Motel. It became more than ‘live’, more than clubbing. It became it’s own event, that they took on tour to Miami, London and elsewhere. We don’t usually make ‘live’ in to such an experience
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Bringing Live to the Mainstream with Deadmau5’s Earl’s !Court USB Deadmau5 carved out a special sec=on of his Earl’s Court gig to play his own material so that we controlled the rights to record it and make it available to people on his iconic U5B s=cks along with other exclusive content. We don’t usually let people experience gigs without being there
!!
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Engaging fans online Deadmau5
It takes a special ar=st to want to let fans close the way Deadmau5 does. His Facebook feed is one of the most engaging. By following it you feel closer to him and his music. You get to know him and he gets to know his fans by constantly engaging them and sharing their comments and contribu=ons. We don’t u engage o sually really ur online fans
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Merch that fits the lifestyle Pacha
Their merch range recognises that: 1. People want to make dance part of their lifestyle, outside clubs / music 2. Many consumers have aged, have children, but s=ll want to express themselves through their Pleasure-‐ Seeker days We often don’t think beyond tshirts
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5 Examples
§ Compila:on ‘brands’ § Brand partnerships § Other ar:st brands § Our ar:sts’ brand § Build a brand
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Example: Compila:on ‘brands’
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Example: Brand partnerships
Brands have enormous reach:
1,000,000,000 cans of Coke are drunk
every day
How does that compare to the number of people listening to your music?
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Example: Brand partnerships
But pick appropriate brands
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Example: Brand partnerships
was made. y or st s a’ tt ue G d vi Da of A movie it. 15 million people have seen Thanks to Burn
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Example: Brand partnerships
+ ?
Research: 85% of fans felt it would enhance their percep:on of David
In a couple of weeks we’d asked thousands of David Guetta’s fans in four countries what they thought. Getting the right partnership for the artist and the brand is key
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Example: Other ar:st brands
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Let’s take a moment to think about the reach this guidance achieved:
David Gue]a: 32,442,691 likes
x9
Collaborators:
284,922,169 (each offered guidance to a different audience in different genres from a different trusted source)
Based on collaborators from the last two albums: Kelly Rowland (1,933k), Fergie (6,212k), LMFAO (17,288k), will.i.am (3,089k), Rihanna (56,043k), Ne -‐ Yo (8,100k), Dirty South (132k), Estelle (165k), Nicki Minaj (19,027k), Page Taio C39 ruz (7,371k), Ludacris (4,556k), Snoop (18,046k), Lil Wayne (37,918k), Usher (30,417k), Akon (39,237k), Tibaland (2,418k), Chris Brown (21,703k), Jennifer Hudson (3,949k), Jessie J (6,836k), Sia (482k)
Example: Our ar:sts’ brand Deadmau5 has such a clear and recognizable brand that less-‐ engaged consumers can easily remember him and have something to iden=fy him by. But an ar=st’s brand is not just about imagery. What's the story? Most artists don’t have a brand that fans can remember
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Example: Build a brand From visionaries like KraMwerk and Brian Eno, the development of synth-‐pop stars like Depeche Mode and Human League, the explosion of dance music culture in the late 80’s to the rise of global superstars like DaM Punk and David GueIa During 2012 we will reach out to all fans of Electronic Music with an ambi=ous campaign Over 500 albums will be featured, between them having sold 119,000,000 copies We have developed products and promo=ons targeted at specific consumers groups, be they cuqng edge tastemakers or lapsed fans. Fans will be engaged by a variety of trade marke=ng assets, price campaigns, via devoted social media channels, commercial partnerships and compe==ons
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Example: Build a brand Genera:on Y
Rave Culture
Purists
Electro Poppers
Size Spend Typical album Targeted Media
Product Page 42
Part 3: Where in the world (And
100%$
v
)
US$
87%
UK#
80%$ 71%
60%$
40%$
59%
43%$
62%
57%$
US#
48%$
45%$
46%
31%
28%$
24%$
21%
20%$
20%$
0%$ 13$to$15$
16$to$24$
25$to$34$
35$to$44$
45$to$54$
55$to$64$
65+$
Page 43
Passion for different genres 80%
70%
COUNTRY
60%
ROCK
POP
50% CLASSICAL
40%
ROCK
30%
POP
COUNTRY
BLUES&/&JAZZ&/&SOUL BLUES&/&JAZZ&/&SOUL CLASSICAL DANCE / ELECTRONIC
URBAN
20%
DANCE / ELECTRONIC
10%
URBAN
0% 13 to 15
16 to 20
21 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people
Page 44
Passion for different genres 80%
70%
COUNTRY
60%
50% CLASSICAL
40%
ROCK
30%
POP
BLUES&/&JAZZ&/&SOUL
20%
DANCE / ELECTRONIC
10%
nce: a d f te o a t s The
sion s a p the f l a h Only pop / k c of ro ngst o ROCK m a (even people) youngPOP sion s a p ar SimilCOUNTRY ban r U o t aten e b BLUES&/&JAZZ&/&SOUL / aled RivCLASSICAL ntry uELECTRONIC o C DANCE / y b ngst o m a URBAN (even people) young
URBAN
0% 13 to 15
16 to 20
21 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people
Page 45
Passion for different genres 90%
80% CLASSICAL
70%
POP ROCK
60%
COUNTRY
50% ROCK POP
BLUES./.JAZZ./.SOUL
40%
CLASSICAL DANCE / ELECTRONIC
BLUES./.JAZZ./.SOUL
COUNTRY
30%
URBAN
20% DANCE / ELECTRONIC
10% URBAN
0% 13 to 15
16 to 20
21 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people
Page 46
Passion for different genres 90%
80% CLASSICAL
70%
nce: a d f te o a t s The sion s a p the s l a v i R pop / k c of ro ge 25 a up to POP
ntly e t s i s Con loved e r o m rban U n a th ROCK
60%
COUNTRY
50% ROCK POP
BLUES./.JAZZ./.SOUL
40%
yond e b s l riva NoCOUNTRY op c k, p roURBAN rban u d n a CLASSICAL
DANCE / ELECTRONIC
BLUES./.JAZZ./.SOUL
30%
20% DANCE / ELECTRONIC
10% URBAN
0% 13 to 15
16 to 20
21 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people
Page 47
Our share of music passion around the world Dance#/#Electronic#passion#as#a#percent#of#the#most#popular#genre# Each grey line is a different country 100%#
80%#
60%#
40%#
20%#
0%# 13#to#15#
16#to#24#
25#to#34#
35#to#44#
45#to#54#
55#to#64#
65+# Page 48
Our share of music passion around the world Dance$/$Electronic$passion$as$a$percent$of$the$most$popular$genre$ Each grey line is a different country 100%$
80%$ 75%$ 67%$ 60%$
60%$
Clear peak at 16-24 Super-serve them to increase the peak Steady decline Meet their needs w decline lo s to 54%$
Growing passion Grow it quicker! In their world, social spaces
40%$
20%$
40%$ 32%$ 26%$
Average
0%$ 13$to$15$
16$to$24$
25$to$34$
35$to$44$
45$to$54$
55$to$64$
65+$ Page 49
The US is at the bo]om of the pack … Dance$/$Electronic$passion$as$a$percent$of$the$most$popular$genre$ Dance / Electronic passion as a percent of the most popular genre Each grey line is a different country
US$
100%$
80%$
60%$
57%$ 48%$
40%$
43%$
opular p as f al h ut o ab ly n o is Dance as the most popular genre The opportunity for growth outweighs any R A F 45%$ recent achievements 28%$
24%$
20%$
Avg$ 20%$
0%$ 13$to$15$
16$to$24$
Note: Based on 12,000 interviews in January 2012
25$to$34$
35$to$44$
45$to$54$
55$to$64$
65+$ Page 50
… the UK scores 50% be]er than the US Dance$/$Electronic$passion$as$a$percent$of$the$most$popular$genre$ Dance / Electronic passion as a percent of the most popular genre 100%$
87%
80%$ 71%
60%$
59%
57%$ 48%$
40%$
43%$
US$
the t s o lm a Dance is e! r n e g r la u p most po e’ Same ‘shap as the US! lder' ‘o / ’ r e g n u o Not ‘y 62%
Each grey line is a different country
45%$
46%
28%$
31%
24%$
20%$
Avg$ 21% 20%$
0%$ 13$to$15$
16$to$24$
25$to$34$
35$to$44$
45$to$54$
55$to$64$
65+$ Page 51
Passion'for'Dance'/'Electronic'music'amongst''All'People''in'each'country RankedGbyGpercentGofGpopulation BEFL
40%G
NZ
3rd
38%G
CA
4th
38%G
UK
5th
36%G
BEWA
6th
36%G
ES
7th
35%G
SE
8th
35%G
DK
9th
34%G
FR
10th
33%G
NO
11th
33%G
NL
12th
32%G
AU
13th
DE
30%G
14th
29%G
IT
15th
29%G
FI
16th 17th
US
25%G 11%G
JP
G64GG
US
The biggest dance markets
2nd
42%G
The most passionate dance markets
1st
RankedGbyGmillionsGofGpeople
G22GG
DE
1st 2nd
UK
G20GG
3rd
FR
G19GG
4th
JP
G17GG
5th
IT
G15GG
6th
ES
G14GG
7th
G12GG
CA
8th
AU
G6GG
9th
NL
G4GG
10th
SE
G3GG
11th
BEFL
G2GG
12th
DK
G2GG
13th
NO
G2GG
14th
FI
G2GG
15th
BEWA
G1GG
16th
NZ
G1GG
17th Page 52
Passion'for'Dance'/'Electronic'music'amongst''All'People''in'each'country RankedGbyGpercentGofGpopulation 1st 2nd
42%G 40%G
RankedGbyGmillionsGofGpeople BEFL
US
NZ
DE
G64GG G22GG
1st 2nd
3rd
38%G
CA
UK
G20GG
3rd
4th
38%G
UK
FR
G19GG
4th
G17GG
5th
5th
36%G
BEWA
JP
6th
36%G
ES
IT
G15GG
6th
G14GG
7th
7th
35%G
SE
ES
8th
35%G
DK
CA
9th
34%G
FR
AU
G6GG
9th
10th
33%G
NO
NL
G4GG
10th
11th
33%G
NL
SE
G3GG
11th
12th
32%G
AU
BEFL
G2GG
12th
DE
DK
G2GG
13th
13th
30%G
G12GG
8th
14th
29%G
IT
NO
G2GG
14th
15th
29%G
FI
FI
G2GG
15th
US
BEWA
G1GG
16th
JP
NZ
G1GG
17th
16th 17th
25%G 11%G
Note: more countries are available. But can’t be compared directly because of differences in the research
Page 53
Passion'for'Dance'/'Electronic'music'amongst''All'People''in'each'country RankedGbyGpercentGofGpopulation 1st 2nd
42%G 40%G
RankedGbyGmillionsGofGpeople
Li]le passion, but the biggest market BEFL
US
NZ
DE
3rd
38%G
CA
UK
4th
38%G
UK
FR
5th
36%G
BEWA
JP
6th
36%G
ES
IT
G64GG G22GG
1st 2nd
A sm a ll incre 3rd G19GG in passio a4thse n G17GG will go 5th G15GG a LON 6th G wa G14GG y7th G20GG
7th
35%G
SE
ES
8th
35%G
DK
CA
9th
34%G
FR
AU
G6GG
10th
33%G
NO
NL
G4GG
11th
33%G
NL
SE
G3GG
11th
12th
32%G
AU
BEFL
G2GG
12th
DE
DK
G2GG
13th
13th
30%G
14th
29%G
IT
NO
G2GG
15th
29%G
FI
FI
G2GG
US
BEWA
G1GG
JP
NZ
G1GG
16th 17th
25%G 11%G
Is that w hat we8th ’v seen in recent y 9the ears? (Small in crease?10th )
G12GG
Less-engaged14th only half 15th as passionate16th as engaged 17th
Page 54
Passion'for'Dance'/'Electronic'music'amongst''All'People''in'each'country RankedGbyGpercentGofGpopulation 1st 2nd
42%G 40%G
RankedGbyGmillionsGofGpeople BEFL
US
NZ
DE
G64GG G22GG
1st 2nd
3rd
38%G
CA
UK
G20GG
3rd
4th
38%G
UK
FR
G19GG
4th
G17GG
5th
5th
36%G
BEWA
JP
6th
36%G
ES
IT
G15GG
6th
G14GG
7th
7th
35%G
SE
ES
8th
35%G
DK
CA
9th
34%G
FR
AU
G6GG
9th
10th
33%G
NO
NL
G4GG
10th
11th
33%G
NL
12th
32%G
AU
13th
Passion and size: the ‘biggest developed’ market DE
30%G
14th
29%G
IT
15th
29%G
FI
16th 17th
US
25%G 11%G
JP
G12GG
8th
ers m u s n o c G2GG BEFL 12th d e g a g e n t e a LeDKss G2GG as passion 13th ost m sic 14th l u a m e G2GG c NO an d t u s o r b e a m u s G2GG FI 15th con d e g a g as en SE
G3GG
11th
BEWA
G1GG
16th
NZ
G1GG
17th Page 55
How mainstream is dance / electronic music? UK: pretty mainstream. US: still niche
How$passionate$are$mainstream$consumers$about$Dance$/$Electronic$ (as$%$of$how$passionate$engaged$consumers$are)$
87%$
86%$
83%$
79%$
78%$
sumers n o c d e g a g Less-en ionate s s a p s a almost usic m e c n a d t abou umers s n o c d e g a as eng
DK$
BEFL$ BEWA$
Most Mainstream (Less-engaged are almost as passionate as engaged consumers!)
ES$
74%$
74%$
72%$
69%$
67%$
66%$
65%$
64%$ 57%$
56%$
55%$
AU$
US$
JP$
Less-engaged only half as passionate as engaged
CA$
UK$
NO$
SE$
NZ$
FR$
FI$
DE$
NL$
Least mainstream (Less-engaged are as half as passionate as engaged consumers!) Page 56
Which dance genres pop and where? Percent'of'US'dance'fans'that'are'passionate'about'each'sub4genre'
The total is more interesting than the age breakdown
90%& 80%&
‘dance’, ain’t it?” st Ju . ow kn n’t do I ? pe ty “what
70%& 60%& 50%&
Dance&
Dubstep is the most targeted
Language Techno& Electronic&
40%& House& 30%& Drum&n&Bass& Dubstep& Trance& Hardcore&/&Hard&Dance&
20%& 10%& 0%& 13&to&15& 16&to&24& 25&to&34& 35&to&44& 45&to&54& 55&to&64&
65+&
All&people& Page 57
Which dance genres pop and where? Percent'of'UK'dance'fans'that'are'passionate'about'each'sub4genre'
The total is more interesting than the age breakdown
90%& 80%&
Just ‘dance’, isn’t it?” “what type? I don’t know.
70%& 60%& 50%&
Dance&
Dubstep, Drum n Bass very targeted
40%&
Electronic& Drum&n&Bass& House&
30%&
Techno& Trance& Dubstep&
20%&
Hardcore&/&Hard&Dance&
10%& 0%& 13&to&15& 16&to&24& 25&to&34& 35&to&44& 45&to&54& 55&to&64&
65+&
All&people& Page 58
UK-‐US differences in dance genres? r e g ig b re a s ie t ri ila im s e h T e differences than thDance&genres&amongst&All&People& UK$
Dance&
House&
Trance&
31%$
52%$ Hardcore&/& Hard&Dance&
25%$
18%$
21%$
36%$
36%$
Electronic& Drum&n&Bass& Dubstep&
19%$
25%$
22%$
25%$
40%$
42%$
46%$
67%$
68%$
US$
Techno& Page 59
Part 4: The brand image of dance
What rejectors of dance think
Page 60
The global brand image of dance Fans
Note: Based on research in ten countries
Rejectors
Page 61
Beyond ‘energe:c’: countries’ appreciate different things How one major dance artist is seen in different countries
Note: we research many artists signed to other labels as well as EMI artists. Please don’t try to guess who this is!
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Summary
IMS Consumer Report 2012 1. Our audience(s): Don’t forget the 70% 2. So what? The role of experiences: five examples The role of guidance: four examples 3. Where in the world: country-‐by-‐country (focus on US vs UK)
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Take the data. Have fun with it! Country-‐demographic-‐genre data online: hIp://links.emi.com/imsconsumerreport
Please share what you do with it! And please shout if you want other data or if we can help with other research. david.boyle@emimusic.com Passion'for'Dance'/'Electronic'music'amongst''All'People''in'each'country RankedHbyHpercentHofHpopulation 1st 2nd
53%H 42%H
RankedHbyHmillionsHofHpeople ZA
US
BEFL
DE
H64HH H22HH
1st 2nd
3rd
41%H
GR
UK
H20HH
3rd
4th
40%H
NZ
FR
H19HH
4th
H17HH
5th
5th
38%H
CA
JP
6th
38%H
UK
IT
H15HH
6th
H14HH
7th
7th
36%H
BEWA
ES
8th
36%H
ES
CA
H12HH
8th
9th
35%H
SE
AU
H6HH
9th
10th
35%H
DK
NL
H4HH
10th
11th
34%H
FR
ZA
H4HH
11th
12th
33%H
NO
SE
H3HH
12th
13th
33%H
NL
GR
H3HH
13th
14th
32%H
AU
BEFL
H2HH
14th
DE
DK
H2HH
15th
15th
30%H
16th
29%H
IT
NO
H2HH
16th
17th
29%H
FI
FI
H2HH
17th
US
BEWA
H1HH
18th
JP
NZ
H1HH
19th
18th 19th
25%H 11%H
Please contact david.boyle@emimusic.com for more info on the data or to share what you have done with it.
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Take the data. Have fun with it! Country-‐demographic-‐genre data online: hIp://links.emi.com/imsconsumerreport
Please share what you do with it! And please shout if you want other data or if we can help with other research. david.boyle@emimusic.com
7 high level genres 45 detailed ‘sub-‐genres’
Decade-‐by-‐decade appeal of Rock, Pop, Dance / Electronic By age, gender, age-gender, all people
Australia, Belgium-‐Flanders, Belgium-‐Wallonia, Brazil, Canada, Denmark, Finland, France, Germany, Greece, India, Italy, Japan, Mexico, Netherlands, New Zealand, Norway, Portugal, South Africa, Spain, Sweden, UK, US Metrics: Millions of people and percent of people Please contact david.boyle@emimusic.com for more info on the data or to share what you have done with it.
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IMS Consumer Report 2012 A world tour of dance music consumers Based on 750,000 interviews
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More info on the data used here Overview §
EMI Music conducts regular, high quality online interviews with people around the world. We have over 750,000 interviews at the moment and are heading rapidly towards a million. The interviews were conducted online, but EMI tries to reach people as representa=ve of the overall popula=on as possible. This usually works preIy well. But in some countries, this isn't possible and the interviews aren't as representa=ve as we'd like (ZA, GR for example)
More info on the data §
EMI has been conduc=ng large, regular online interviews of consumers since early in 2009. These interviews have helped to drive EMI’s deep understanding of the music industry and has deeply touched how we’ve helped our ar=sts around the world and at all levels over that =me. By really understanding the music market we have beIer understood how to help our ar=sts to be successful in those markets. By having rich data available we have been able to help more ar=sts more quickly, accurately and globally that we would otherwise have been able to. EMI has become very good at using this data alongside its skills and judgement to make decisions. Geqng that balance right is difficult in any industry and especially in music.
§
This report aims to share some of the key data from those interviews to enable others to benefit and in the hope that many eyes will bring new insights.
The online research is: §
High quality: since research agencies were used to iden=fy high quality respondents and to filter out people not taking the interview seriously
§
Detailed: across the approximately twenty minutes, we cover a very wide range of music-‐related issues, aqtudes and behaviours
§
Interes:ng: all the ques=ons were scripted by EMI and so almost every issue and ques=on that was on our mind made it into a survey at some point
§
Global: Data is available in Australia, Belgium, Brazil, Canada, Germany, Denmark, Spain, Finland, France, Greece, India, Italy, Japan, Mexico, Netherlands, Norway, New Zealand, Portugal, Saudi Arabia, Sweden, UK, US, South Africa
§
Large: each research project has a minimum of 3,000 interviews and usually has 5,000 in big countries. Some have more than 10,000 interviews
Subjects covered §
This data set covers consumers' passion for genres of music. But in the larger data set we have literally covered every subject we thought interes=ng to the music industry overall (not just the recorded music industry). Some of the subjects covered include: – Demographics, life stage, educa=on, geography, … – Interest and passion for music overall and by genre and sub-‐genre – Aqtudes and behaviours regarding music discovery, engagement and consump=on. E.g. piracy, streaming, CDs, YouTube, … – Media consump=on and what’s useful for music discovery. E.g. radio, music magazines, blogs, social networking, twiIer, ... – Awareness, apprecia=on and engagement with specific ar=sts – Apprecia=on, familiarity and brand percep=on for specific pieces of music and videos Page 67
APPENDIX: Country-‐by-‐country genre-‐age charts for other countries
Page 68
AU 90%
80%
70%
ROCK POP
60%
50%
COUNTRY CLASSICAL BLUES / JAZZ / SOUL
40%
DANCE / ELECTRONIC
30%
URBAN OTHER
20%
10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people
Page 69
BEFL 90%
80%
70% POP 60%
ROCK
50%
DANCE / ELECTRONIC
40%
CLASSICAL BLUES / JAZZ / SOUL OTHER COUNTRY
30%
URBAN
20%
10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people
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NO 80%
70%
POP ROCK
60%
50%
40% CLASSICAL COUNTRY DANCE ELECTRONIC BLUES //JAZZ / SOUL 30% OTHER 20%
URBAN
10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people Page 71
NZ 90%
80%
70% ROCK POP
60%
50% COUNTRY CLASSICAL DANCE ELECTRONIC BLUES //JAZZ / SOUL
40%
30%
OTHER URBAN
20%
10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people Page 72
DK 90%
80%
70%
POP ROCK
60%
50%
CLASSICAL COUNTRY
40%
BLUES / SOUL DANCE//JAZZ ELECTRONIC 30% OTHER 20% URBAN 10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people Page 73
ES 90%
80% POP 70%
60%
ROCK
50%
CLASSICAL 40% DANCE / ELECTRONIC BLUES / JAZZ / SOUL 30% COUNTRY OTHER 20%
URBAN
10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people
Page 74
DE 90%
80%
70% POP 60% ROCK 50%
40%
CLASSICAL DANCE / ELECTRONIC
30%
COUNTRY BLUES / JAZZ / SOUL OTHER
20%
URBAN
10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people Page 75
FR 90%
80% POP 70%
60% ROCK 50%
40%
BLUES / JAZZ / SOUL CLASSICAL DANCE / ELECTRONIC
30% COUNTRY OTHER URBAN
20%
10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people Page 76
NL 90%
80%
70% POP 60%
50% ROCK 40% OTHER DANCE / ELECTRONIC BLUES / JAZZ / SOUL CLASSICAL
30%
COUNTRY 20% URBAN 10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people
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BEWA 90%
80%
70%
POP ROCK
60%
50%
CLASSICAL
40%
BLUES //JAZZ / SOUL DANCE ELECTRONIC OTHER 30%
COUNTRY
URBAN 20%
10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people Page 78
CA 90%
80%
70%
ROCK POP
60%
50% COUNTRY 40%
DANCE / ELECTRONIC CLASSICAL BLUES / JAZZ / SOUL
30% URBAN OTHER 20%
10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people
Page 79
FI 90%
80%
70% POP ROCK
60%
50%
40% CLASSICAL 30%
DANCE ELECTRONIC BLUES //JAZZ / SOUL COUNTRY
20%
OTHER
10%
URBAN
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people Page 80
JP 60%
50%
40%
POP
CLASSICAL 30% BLUES / JAZZ / SOUL ROCK 20%
URBAN OTHER COUNTRY DANCE / ELECTRONIC
10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people Page 81
SE 90%
80% ROCK 70%
POP
60%
50%
40%
CLASSICAL COUNTRY DANCE / ELECTRONIC BLUES / JAZZ / SOUL
30%
OTHER
20% URBAN 10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people
Page 82
IT 90%
80%
70%
ROCK POP
60%
50%
40% CLASSICAL 30%
BLUES / SOUL DANCE//JAZZ ELECTRONIC COUNTRY
20%
OTHER URBAN
10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people Page 83
ZA 100%
90%
80%
70%
POP ROCK
60% CLASSICAL DANCE / ELECTRONIC COUNTRY
50%
BLUES / JAZZ / SOUL
40%
OTHER
30%
URBAN
20%
10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people Page 84
IN 80%
70%
60% CLASSICAL POP
50%
ROCK 40% DANCE / ELECTRONIC COUNTRY 30% URBAN BLUES / JAZZ / SOUL OTHER
20%
10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people Page 85
GR 90%
80% ROCK 70%
POP
60%
50%
DANCE ELECTRONIC BLUES //JAZZ / SOUL
40%
CLASSICAL 30%
URBAN
20%
COUNTRY OTHER
10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people Page 86
Avg 80%
70% POP 60%
ROCK
50%
40% CLASSICAL BLUES / SOUL DANCE//JAZZ ELECTRONIC COUNTRY
30%
OTHER 20%
URBAN
10%
0% 13 to 15
16 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people
Page 87