2013 was a big year for streaming, with the IFPI reporting total trade revenues of $1.1 billion and a total of 28 million subscribers globally. 2014 will be a crucial year and today Rhapsody revealed its contribution to the growing global picture.
As of April 2014 there are 1.7 million global subscribers to Napster and Rhapsody, up from a little over 1 million in April 2013. Those numbers were boosted in part by the transition of Sonora customers in Latin America from Rhapsody’s October deal with Telefonica in which the Spanish telco reported would amount to the transition of ‘hundreds of thousands of existing customers’.
Latin America is undergoing something of a digital gold rush with European and US companies seeking to ‘colonize’ the digital market like modern day conquistadors. It is a real pity that more is not being done by indigenous services. ‘Digital colonialism’ aside, Rhapsody’s Lat Am focus is part of a wider recognition of the importance of emerging markets to the longer term viability of the digital market. How these markets adopt digital will play an increasingly influential role in shaping global strategy. In some markets the download will have a long term transition technology role, acting as the digital stepping stone between the CD and access based models. In others, there will be a technology leapfrog effect with consumers going straight to access based models, in a similar way that many consumers in emerging markets skipped the PC web entirely and went straight to the mobile web.
Super Cheap Flat Rate Access
What is clear though, is that the available spending power of emerging market consumers is far lower than in US, Europe and especially than in the prosperous Nordics. So the 9.99 model simply doesn’t apply. Labels are already heavily discounting wholesale rates for emerging markets but the likelihood is that the majority of customers will be monetized with hard bundles, with the consumer paying nothing. This is a different model from telco bundles in western markets where telcos invest heavily as strategic marketing efforts (and typically lose money). Instead, emerging market bundles will be long term offers, a permanent feature of mobile packages. Telcos pay far less to labels but get much bigger scale. The risk of heavily devaluing music is moot, as in the territories this model works in, music already has zero value to consumers as a monetary proposition.
Scale Does Not Impact Everyone in the Same Way
Back over in the western world, where the vast majority of streaming revenues currently are (c. 90% to be precise), some of the initial sheen is beginning to fade. Beggars Group have long been positive exponents of the streaming model and have rightly earned plaudits for paying artists 50/50 net receipt deals. However last night Beggars’ head of strategy Simon Wheeler intimated that those rates may not be sustainable. The main reason is that streaming is such a key part of digital revenues now that the 50/50 share damages under-pressure margins. But it is also because of the operational costs of streaming for a label (vast quantities of data to account – ‘billions of lines of data’, bandwidth costs etc.). This highlights an issue I have been talking about for a while, namely that the great bright hope of scale (i.e. ‘when we reach scale, streaming will make commercial sense to everyone’) does not apply equally across the digital music value chain. If you are a big label or publisher with a big catalogue of repertoire you will measure the impact of a million new subscribers in terms of millions of new dollars each month. Scale benefits you well. But if you are a single artist with just a few albums you will measure the impact of that same 1 million new subscribers in terms of hundreds of dollars a month. Beggars Group sits somewhere in the middle of that scale-impact continuum.
The counter balancing of good news story / bad news story is nothing new to streaming, and it will continue to characterize the evolution of the market in 2014. The shift from distribution models to consumption models is arguably the most dramatic transition the recorded music industry has ever been through, and consequently the change will have seismic repercussions. Streaming revenue will come of age in 2014, but as it does so expect more speed bumps along the way.