Take Five (the big five stories and data you need to know) August 23rd 2019

Taylor Swift, pre-sale love: Taylor Swift tends not to adhere to prevailing industry trends. As a millennial artist with a strong Gen Z following, streaming should rightly be the core of her recordings career. Having started her career very young in the album era, however, she and her fans still love album sales. So, on the eve of her first UMG album ‘Lover’, she has hit one million pre-sales– which is kind of spectacular in the post-album era. Add this to BTS helping push South Korean sales into growth, and we have an emerging trend: pop acts mobilising young fanbases on a global scale to buy albums as a gesture of fandom. 

Apple TV+, on its way: Apple confirmed plans to launch its video subscription service by November, part of a drive to reach $50 billion in service sales by 2020. Services represent 21% of Apple’s revenue and it is making a big deal of transitioning to being a services business. A cynic might argue that of course Apple would say this when iPhone sales are dipping below 50% revenue. While wearables are booming, there is no iPhone successor on the horizon, so services need to drive mid-term growth.

Korn, brutal mosh pit: Nu-metal veterans Korn have announced they are doing virtual gigs in MMO games AdventureQuest 3D and AQWorlds. The band have had characters made of them and they promise a ‘brutal mosh pit’ and an ‘unforgettably brutal, monster-filled virtual rock concert’ – as well as the opportunity to take selfies backstage with the band. Making in-game concerts work is no easy task (look at how long it has been since Marshmello’s Fortnite ‘gig’). But the potential is clear, and they will get easier to do.

Google, privacy fightback: Since the Cambridge Analytica scandal, privacy has risen in the agenda. Companies that don’t rely on advertising (Apple in particular) have been able to leverage this to position privacy as a product. Google can’t afford to be a passive observer, as advertising is 83% of its revenue ($33 billion last quarter). Its Chrome team has thus proposed a ‘privacy sandbox’, which aims to deliver accurate targeting for advertisers without compromising user privacy. Blocking cookies can reduce publishers’ ad revenue by half, so Google needs a privacy-friendly version of targeting, fast.

PAOK, licensing brinkmanship: Greek Super League football club PAOK will stream its first match of the season on itsown OTT platform because it hasn’t yet got a licensing deal with national broadcaster ERT. Sports licensing is in an unusual place right now. On the one hand, traditional broadcasters are seeing audiences decline while having to spend more on drama to compete with Netflix (so less to spend on sports), while on the other new streaming players are increasing their spend. Expect more speed bumps like this along the way.

Why Spotify and Netflix Need to Worry About a Global Recession

A growing body of economists is becoming increasingly convinced that a global recession is edging closer. The last time we experienced a global economic downturn was the 2008 credit crunch. Although the coming recession will likely be a bigger shock to the global economy, it nonetheless gives us a baseline for what happens to consumer spending habits. When consumer income declines or is at risk, discretionary spend is hit first and often hardest. Crucially, entertainment falls firmly into discretionary spend so, as in 2008, it will be a canary in the mine for recessionary impact. However, streaming is the crucial difference between 2008 and 2019, and is one that could prove to be like throwing petrol on a fire.

Streaming has driven the rise of the contract-free subscriber

The growth of streaming music and video has been a narrative of the new replacing the old; of flexibility replacing rigidity. Crucial in this has been the role of contracts. Traditional media and telco subscriptions are contract-based, legally binding consumers into long-term relationships that typically need to paid off in order to be cancelled. Digital subscriptions, however, are predominately contract-free. For video this has created the phenomenon of the savvy switcher – consumers that subscribe and unsubscribe to different streaming services to watch their favourite shows. For music, because all the services have pretty much the same music, there has been negligible impact. In a recession, however, all of this could change.

No contract, no commitment 

Faced with having to cut spending, the average streaming subscriber would most likely look to cut traditional subscriptions first. For example, a Netflix subscriber with a cable subscription may want to cut the cable subscription and keep hold of Netflix because a) it is cheaper, and b) it is a better match for their content consumption. However, that consumer would quickly learn that cancelling a cable subscription mid-contract actually costs a lot of money. So, they would end up having to cancel Netflix instead, because there is no contractual commitment. The irony of the situation is that a consumer is having to cut the thing they least want to cut, simply because that is all they can do.

Music subscriptions could be collateral damage

The same consumer may also find themselves having to cancel their Spotify subscription, because cancelling Netflix did not save anywhere near as much money as cancelling cable would have done. On top of this, they probably would not feel the impact of cancelling Spotify anywhere near as much as cancelling Netflix. When Netflix goes, it just stops. Spotify on the other hand has a pretty good free tier, and that’s without even considering YouTube, Soundcloud, Pandora and a whole host of other places consumers can get streaming music for free. Streaming music is essentially recession-proof, but in a way that works for consumers, not for services.

If we do enter a global recession and it is strong enough to dent entertainment spend, then a probable scenario is that traditional distribution companies will be the key beneficiaries through the simple fact that that have their subscribers locked into contracts. This could even give these incumbents breathing space to prepare for a second attempt at combatting the threat posed by streaming insurgents. It would almost be like winding back the clock.

Tech majors may bundle their way out of a recession

Some companies could use this as an opportunity to aggressively gain market share. Amazon’s bundled approach could prove to be a recession-buster proposition, giving consumers ‘free’ access to a range of content as part of the Prime package. Similarly, Apple could decide to take its suite of subscription services (including Apple Music and Apple TV+) and bundle them into the cost of iPhones. This would enable it to help drive premium-priced device sales in a recession by positioning them as value-for-money options.

Stuck between contracts and bundles

For Spotify, Netflix and other streaming pure-plays, a recession could see them squeezed between traditional distribution companies and ambitious tech majors with contracts on one side and bundles on the other. Streaming services have been the disruptors for the last decade. A recession may well role-switch them into the disrupted.

The Frank Ocean Days May Be Gone, but Streaming Disintermediation Is Just Getting Going

Aaron_Smith
At the start of this month Apple struck a deal with French rap duo PNL. PNL are part of a growing breed of top-tier frontline artists that have opted to retain ownership of their masters. In our just-published Independent Artists report (MIDiA clients can read the full report here)we have sized out the label services marketplace, and when it is coupled with artists direct (i.e. DIY) the independent artist sector was worth 8% of the entire recorded music business in 2018.

While that number may sound relatively modest, it is growing fast and represents the future. Traditional label deals are not disappearing, but they are becoming just one component of an increasingly complex recorded music revenue mix. This is the industry context that enables initiatives such as Apple’s PNL deal and both Spotify and Apple backing Aaron Smith, who incidentally is signed to artist accelerator Platoon, which is a company that Apple acquired in December 2018.

Independent artists open up new opportunities for streaming services

When Apple did its exclusive with Frank Ocean back in 2016it caused such an industry backlash that UMG head Lucian Grainge banned his labels from doing exclusive deals and the movement seemed dead in the water. If there was any doubt, Spotify kicked up so much label ill will when it launched its Direct Artists platform that it officially shuttered the initiative in July. However, now we are seeing that there many more ways to skin the proverbial cat. It is perfectly possible to disintermediate labels without having to actually disintermediate them. Doing an exclusive with an independent artist or giving him / her priority promotion is doubly effective for streaming services as:

  1. Record labels have no right to complain because independent artists have just the same right of access to audiences as label artists
  2. The more exposure independent artists get, the more their market share will grow, which will lessen record labels’ market share, which makes it harder for them to resist and easier for the streaming services to start making bolder moves down the line

Ambiguity will be the shape of things

Even this structure plays into the traditional view of labels versus the rest. The new truth is much more nuanced. For example, when Stormzy was duetting with Ed Sheeran at the Brits, signed on a label services deal to WMG’s ADA, was he a Warner artist or an independent artist? He was, of course, both. The evolution of the market will be defined by progressively more of this ambiguity, which will give streaming services equally more ability to not only play to these market dynamics but to stress-test the boundaries. The simple fact is that streaming services will become ever-agnostic with regards to artists’ commercial partnerships and in turn they will become a more important component of the value chain. Apple Music did the PNL deal because they had much more commercial flexibility dealing with an independent artist than dealing with a label artist. At some stage, labels will have to decide whether they want to revisit the exclusives model. Without doing so, they may not get a seat at the new table.

New MIDiA Artist Survey – Take Part!

Firstly, thanks to all of you who took part in our artist survey last year. If you did so, you should by now have received the link to the free report. If not, email us at info@midiaresearch and we’ll get it to you.

We are now fielding a new artist survey and we’d like you to take part! This time we are diving into the tools and services that artists use and what they think about them. All respondents will get a free copy of the final report when it is published.

You can complete the survey by following this link

Independent Artists: The Age of Empowerment

MIDiA - Amuse Independent Artist ReportMIDiA is proud to announce an exclusive new report in conjunction with Amuse – Independent Artists: The Age of Empowerment. The report is based on a global survey of independent artists that we conducted earlier this year, with respondents from all of the world’s continents. The full report is immediately available for free download here. Here are some of the key themes and findings of the report:

The science fiction author William Gibson once said, “The future is already here, it just isn’t evenly distributed.” He wasn’t writing about the rise of independent artists, but he could have been. We are seeing the beginning of what may be the biggest paradigm shift in the music business in decades, but as with all big changes, we won’t appreciate the true magnitude of it until further down the road when more of the pieces have fallen into place.

In the old music business, artists had a limited number of choices when planning their careers. They could sign with a record label and hope they were the one in ten that made it, or they could treat music as a hobby, contenting themselves with playing the local bars and clubs. Then a UK rock band did something in 2001 that little known to them would act as the genesis for an entire new way of being a recording artist. After having split with record label EMI, Marillion decided to ask their fans to pre-order an album they hadn’t made yet. More than twelve and half thousand fans did so and with the resulting hundreds of thousands of dollars they recorded Anoraknophobia. Music crowdfunding was born. Marillion had just shown the artist community that there was a new way to be a successful recording artist.

Fast forward 18 years and artists now have more tools, services and choices than at any previous time in the history of recorded music. An entire industry has evolved to enable artists to plot their own unique paths through the fast-changing music industry. From finding a vocalist, through remote mastering, to funding, marketing and distribution, artists now have the tools at their disposal to create their own virtual record labels.

Forget digital service provider (DSP) disintermediation; artist disintermediation is the real threat

Record labels often worry about streaming services disintermediating them, but they should be more concerned about artists disintermediating them themselves. With all of the tools and services at their disposal, artists have the ability to create their own bespoke labels. In this ‘label as a service’ world, record labels have to define a new role for themselves, one in which artists will place ever greater focus on retaining creative and commercial independence. Signing a traditional record label deal is now just one option among many for artists.

Independent Artist Data MIDiA Research

  • Culture first, cash second. Artists’ definition of success is very much culture first, then cash. They are looking for respect and recognition first and foremost. With this respect and recognition, they can become viable touring acts with the chance to earn loyal fan bases.
  • Labels are not a prerequisite.Artists now view labels very much as one possible means to an end. Less than a third of label artists consider it important to get signed to a record label, while for independent artists (i.e. those without record labels) the rate rises to a little over a half.
  • Earnings are the biggest obstacle. It is just as well that artists take a culture first, cash second attitude as most artists should not expect to earn a living from music without something close to divine intervention. Nearly three quarters of independent artists earn less than $10,000 a year from music, and average incomes are also low even for signed artists.
  • Artists’ income streams vary widely. Streaming income, along with earnings from live performances, make up the majority of artist revenues today. For independent artists, streaming is now their primary source of income at 30%.
  • Signing to a label is not enough for artists’ financial security. Being signed to a label often does little to ease an artist’s financial woes. Overwhelmingly, both independent and label artists do not feel that they earn enough from music to not worry about their financial situation.
  • Don’t give up the day job: Most artists have plural careers. Whether signed to a label or not, over two thirds of artists feel they will have to keep up other work alongside making music in order to make ends meet.
  • The age of artist empowerment has arrived. Despite the challenges of a music career, the vast majority of artists now feel they have more control over their careers than ever before. With their choices both increasing and improving, nearly two-thirds of artists have a positive outlook about their career paths.
  • Artists want to listen. The modern day artist has flexibility and freedom to make choices – but how do they make the right choices? While the vast majority of artists do not want to lose creative control, most of them are open to influence and advice about their creative direction.

Download the report for free now!

Free-to-Attend Event: Monetising Fandom

monetisingfandomspeakers2x2Join us on Wednesday 17thJuly in central London for MIDiA’s next free-to-attend event: Monetising Fandom in a Fragmented Content Landscape. Regular attendees of our events will know that they combine great new data and analysis with insightful panels and a mix of attendees not quite like at any other event, with representation from across multiple industries.

Next week is a big one. We will be showcasing a brand-new stream of data for MIDiA: audience fandom. With audiences fragmenting across so many different platforms, formats and content genres, the attention economy not only puts pressure on every form of content, it also necessitates a complete rethink of how we measure success. Pre-streaming, success was much easier to understand: album sales and TV ratings were nice, simple-to-measure metrics. Now though, audiences are spread across a host of different platforms, sometimes consuming, sometimes simply engaging with social or promotional content. It all contributes to the artists’ brand impact, and in the era of the attention economy, extended brand reach is more important than it has ever been.

In this event we are going to showcase our latest audience insight data on music artists and TV shows, and we will present our case for an entire new way of measuring and understanding success.

The event itself will include a keynote presentation from Mark Mulligan, followed by a panel discussion featuring representatives from TikTok, ATC, Kobalt and Spirit Media.

Follow this link to sign up (fully-refundable deposit required).

For those of you who are not in London, a live stream will be made available on our Facebook page at 18.30 BST.

Big Machine (Inadvertently) Just Did a Promo Ad for Label Services Deals

Taylor-SwiftThe sales of Taylor Swift’s former label Big Machine Records to Scooter Braun has resulted in an ugly spat that has been played out very publicly. First Braun enthused about acquiring a ‘brilliant’ company and the global ‘opportunities’.Then Swift responded with an open letter saying that Braun had ‘stripped her of her life’s work,before Big Machine’s Scott Borchetta responded saying he had given her the ‘opportunity to own her masters’. The feud clearly has some distance to run but the issues of ‘who got what text message when’ are not the big deal here, the real deal is the big deal.

Whether she likes it or loathes it, Taylor Swift’s catalogue is Big Machine’s asset

Late last year Swift left Big Machine to sign a long-term deal with Universal Music that was most likely a label services deal. At the time she said it was ‘incredibly exciting’ to own her masters. But, however good her UMG deal might be, she is now in a position whereby her recordings are being sold to someone she’d much rather not have ownership of them. In her post she calls this a ‘worst case scenario’. From Big Machine’s perspective, it simply couldn’t sell the company without having either Taylor Swift or her recordings on its balance sheet. Without one of those, the company’s value would have been much lower. Swift may not like the feeling of being someone else’s asset but that is the very nature of what happens when an artist signs a traditional label deal.

Artists now have unprecedented commercial choice

Back in the early 2000s the Beatles wentto court to try to regain ownership of their master recordings because of a dispute with their label. Fast forward to now and we have another massive pop act angered at not having control of their own creation. At one level the world has not changed much, but on another it has done so, and dramatically so. The fact that Swift signed a label services type deal with UMG shows just how much more choice artists have with the type of deals they sign, whether that be label services, joint ventures, distribution deals or combinations of all three. Artists have never been so empowered and so educated. Nor have they ever had so many commercial options, from doing direct distribution with a CDbaby or Amuse, a label services deal with an AWAL or BMG or simply going direct to fans with platforms like Bandcamp.

Big Machine just highlighted the downside of traditional label deals

By allowing the dispute with Swift to become so public, Big Machine has just inadvertently done a promo campaign for label services deals. The more that the media is awash with stories like this, the more that artists will be considering their options. This does not however mean that all artists will be turning down traditional masters deals in favour of label services deal. A label services deal normally means trade-offs. A record label is going to get less, so in return it is going to give less back. Artists have to balance out factors such as smaller advances, lower royalty income, higher risk and bearing costs. For an artist that has spent years building to the point of signing a deal, a fat advance and guaranteed marketing spend will often be a more appealing prospect. Especially when you consider that successful artists will expect recording income to be just a minority of their total music income.

Artists increasingly use labels to build their own artist brands 

In this context, the record label becomes a marketing asset to the artist, a tool with which to become famous enough to ensure that all the other income streams (live, merch, publishing, brand partnerships etc.) kick in. In this era of empowered artists, more artists will be making an informed decision that matches their priorities. If they prioritise creative independence and control, then label services will make most sense. If they value building a large-scale audience fast, they may opt for a traditional label deal. Or they’ll take something in the middle. The bottom line is that there is no standard approach anymore. Any artist signing a deal now that finds themselves five years from now complaining about not having control of their masters will, to put it bluntly, only have themselves to blame. It will have been their choice.

Why Stormzy as a Glastonbury Headliner Makes Sense Post-Streaming

This is a guest post from MIDiA music analyst Zach Fuller.

glastonbury2-1On the eve of Stormzy becoming the first Grime artist to headline Glastonbury, it is worth considering what this represents in terms of the link between the new streaming economy and live music.

The South Londoner’s slot is notable less for the now-obligatory controversy that greets any Worthy Farm headliner that isn’t an established rock band (as per Jay-Z and Kanye West’s turns at the festival), but rather should be viewed as a pivot in what the wider live audience ought to expect from the next wave of headliners. Those complaining that Stormzy is not headline material (although a number one album and single could easily suggest otherwise) seem to be missing the point in the transformation being undergone by the live industry – the headliners of yesteryear arrived in a completely different paradigm to the music industry of the present. Additionally, if people expect the live industry as it exists now to reflect modern music consumption, then they are sorely mistaken:

  • Streaming and live genres are inverted: 20% of the top 25 Spotify artists (February 2019) are hip hop artists, compared to 12% of the top global touring acts. Meanwhile, rock represents just 12% of the top 25 Spotify artists but 28% of the top live artists. This disconnect between what people are streaming and what they are paying to see live is a potential fault line between two sides of the global music business. Live has always been a lagging indicator of taste, with artists’ live careers peaking later than their recorded careers. It is small surprise that the average age of the top 25 Spotify artists is 34, while for live it is 55.
  • The festival boom points to the future: Listeners are less likely to invest in individual artists for an extended period of time, a trend caused by the increased choice among consumers that both downloads and streaming have facilitated. While festivals serve this audience better than individual shows, it could be argued that in the coming years, extended sets by a particular artist make less sense to someone who only streams a few songs by an individual act. The festival-goer’s desire for shorter sets may conflict with the artist’s desire for a longer show given the fee they are being paid. The current live show format of long performance sets looks divorced from consumers’ listening habits. Live venues are already preparing for this post-concert future, which bears greater resemblance to the variety act format so popular in Britain up until the early 60’s when the advent of rock gave rise to the traditional concert format.

The takeaway is that the live industry effectively must play catch-up with streaming if it is to have these types of headliners at all in the future. Even if Stormzy’s streaming numbers do not yet match those in the existing headline bracket, festivals NEED new artists to come through at that level if they are to keep the format together. Either festivals will break apart into niches (a trend already in process when reflecting on the British summertime festival calendar), or streaming acts will see themselves pushed into the big leagues early than anticipated

The Classical Music Market: Streaming’s Next Genre?

MIDiA-Research-Idagio-Classical-Music-Market_Image-724x1024Classical music has long been viewed by many as a rarified genre that stands apart from other forms of music. While there is clearly something in that, something new is happening to the classical market: streaming is opening up a new, more diverse base of fans. Many of these are finding new entry points to classical music, such as hearing piano concertos on Relaxing Piano playlists. These new audiences bring with them new expectations about what classical music listening should be like and they present a major new opportunity for the classical market.

I am excited to announce the release of a report on the global classical music market that covers this concept and much, much more. MIDiA researched and wrote the report on behalf of classical music streaming service Idagio. (To be clear, this report is an objective and independent analysis of the classical market, not one of those ‘white papers’ that exists to champion the virtues of the client’s proposition.)

With that important caveat out of the way, I strongly recommend you download the full report for free here. It is packed with exclusive new consumer data that presents a unique view of classical music consumers and how they are engaging with streaming. The survey was fielded in the US, UK, Mexico, Sweden, Denmark, Austria, Germany and South Korea.

A fill list of contents is at the bottom of this post.

Here are a couple of paragraphs from the report that helps contextualise why classical music is gaining new relevance in today’s streaming world:

Classical music fans are a crucial music consumer segment that is too often overlooked in the mainstream of the music industry, and especially within the streaming market. However, the clear picture that has emerged in this report is one of a large and diverse group of consumers that include large volumes of mainstream music consumers who are also fans of other genres. The traditional image of Classical fans of only being older, traditionally minded and musically aloof does not stand up to scrutiny. Instead we see a group of people that are increasingly both youthful and digitally savvy, and that have wide tastes that go beyond just Classical music. This though, is not just a reflection of the diversity of these consumers but also of the way in which streaming is helping Classical music find a new, younger generation of fans.

Alongside this, streaming services risk getting locked in a race to the musical middle-ground in order to build the biggest audiences possible, with record labels and producers rushing to fill this overcrowded space with increasingly formulaic playlist-optimized songs. Songs that like fresh fruit are designed for quick, immediate consumption, not for longevity. This vicious circle of song optimization / playlist optimization may be the path of least resistance but it can ultimately lead to an unsatisfying overall music experience. Classical music provides an antidote to the algorithm-defined mainstream, and of the status update driven chaotic maelstrom that is digital life. Now we are starting to see the signs of a new generation of Classical music fans searching for a refreshing, reassuring alternative to the tumult and homogeneity of mainstream.

Go download the free report! (No registration required)

classical music report contents

Niche is the New Mainstream

Fandom is fragmenting. Streaming personalization and falling radio audiences are combining to rewrite the music marketing rulebook, ushering in a whole new marketing paradigm. Hits used to be cultural moments; artist brands built by traditional mass media. However, this fire-hydrant approach to marketing lacked both accountability and effective targeting. Now, hyper targeting, both in marketing campaigns and streaming recommendations, is creating a new type of hit and a new type of artist. Global fanbases are being built via the accumulation of local niches, while a few big hits for everyone are being replaced by many, smaller hits for individuals. Niche is the new mainstream.

The marketing rulebook is being re-written

Three trends have reshaped how music marketing works:

  1. Digital targeting: The rise of social media provided label marketing teams with masses of data and unparalleled targeting
  2. Linear decline:The steady decline of linear radio and TV audiences is eroding these platforms’ contribution to music marketing effectiveness
  3. Streaming curation:Streaming algorithms and curation teams are overriding label marketing efforts, delivering users what the streaming services want to deliver rather than what labels want to

fragmented fandom midia research - niche is the new maiostream

Artist marketing used to be about building exposure and brands across mass market analogue platforms. With radio, TV and print all in decline – especially among the crucial younger audience segments – that approach is being replaced with targeted digital campaigns which in turn are fragmenting fandom and transforming what global fanbases look like:

  • The marketing transition:Marketing of media brands is locked in a transition phase, moving from the old model of one-to-many messaging to targeted digital campaigns. As in all transitions, the old and new models will co-exist for some time. For music marketers though, there is a greater need for emphasis on digital because this is where the younger music fans are that are so crucial to the success of so many frontline acts.
  • Democratization of access:In the old model, mainstream linear media (TV and radio especially) was the power tool of big record labels. Access to these finite schedules is inherently scarce and bigger record labels have an inbuilt advantage due to their scale and influence. In on-demand environments access is democratized, with anyone able to run their own self-serve campaigns on platforms such as Facebook, Snapchat, YouTube and Google search. The result is that labels and artists of all sizes can reach their global audiences.
  • From cultural moments to cultural movements:Linear schedules have the unrivalled ability to create simultaneous audiences at scale around a specific piece of content. Creating these cultural moments remains the crucial asset that TV and radio bring. But the weakness of this approach is that much of the impact is diluted. It is carpet bombing compared to the laser-guided missile of digital marketing, resulting in a lot of wasted exposure and effort. Mass reach is progressively less useful for driving fandom. Against this, the hyper-targeting of digital creates super-engaged fanbases that can often thrive under the mainstream radar. Kobalt artists such as Lauv (2.5+ billion streams) and Rex Orange County (0.8+ billion streams) are examples of this new paradigm, creating global-scale cultural movements rather than linear cultural moments. Niches thrive in this world of fragmented fandom, but niche no longer inherently means small. Indeed, the cumulative effect of many local niches is global-scale fanbases. Niche is the new mainstream.

The old living side by side with the new

As when every new paradigm shift occurs, the old and the new will live side by side. There will still be plenty of artists that appeal to younger audiences that become household names too across mainstream media – look no further than Billie Eilish. But make no mistake, the shift is happening. More and more global artist success stories will happen outside the mainstream. These fan bases will be increasingly passionate and loyal, acting as strong platforms for building impactful artist stories. Success will be built around audiences that want a piece of everything that artist has to offer, from streaming to merch to tickets. This is how independent artists and many independent label artists have been building careers for years. They no longer have the exclusive, however.

Fragmented fandom is an asset, not a challenge

Artists that once would have been household names – mass media brands with large but often passive fanbases – are now rising as under-the-radar superstars. It has never been more important for this to happen. With streaming pushing more listeners towards tracks and away from artists and albums, building passionate clusters of fans is not just key to success, it is the very thing that success will be built on. Fandom is fragmenting but it may be the best thing that has ever happened to it.

This blog post pulls insight from a forthcoming MIDiA report Music Marketing: Niche is the New Mainstream that will be published in MIDiA’s new Marketing and Brands service. To find out more about how to get access to this research practice – a must have for anyone involved in marketing of media brands – email stephen@midiaresearch.com