Viewing: Amazon - View all posts

AMAZON MUSIC OPENS UP STREAMING DATA WITH AMAZON MUSIC FOR ARTISTS APP 

AMAZON MUSIC OPENS UP STREAMING DATA WITH AMAZON MUSIC FOR ARTISTS APP

Here is some much needed good news for today! Amazon Music has announced the long-awaited beta launch of Amazon Music for Artists – a new mobile app for artists and their teams designed to help acts “better understand their business on Amazon Music”.

Guest post by Tim Ingham of Music Business Worldwide

The music streaming landscape just got more transparent.

Available on both iOS and Android, the app serves up information regarding artist streaming performance on Amazon Music’s various tiers, as well as insights into each act’s fanbase. 

According to Amazon, its features include: 

  • New success metrics, including the Daily Voice Index, which illustrates how an artist’s music is performing on Amazon Music with Alexa – including insights into voice requests by artist, album, song, and lyric. 
  • Access to near-real-time streaming data, providing artists with the latest streaming data across their entire catalog. 
  • A fan insights tab, which provides a breakdown of an artist’s most engaged listeners –Fans and Superfans – so they can focus on growing these segments over time. 
  • A custom date filter, so artists can choose specific dates, or length of time to track performance in near-real-time, including the last 24 hours of a release. 

CD Baby is a verification launch partner with Amazon Music for Artists, meaning any artist who is distributed through CD Baby can get expedited access to join.

The launch is coupled with a companion website (artists.amazonmusic.com) where artists and their teams can learn more about the app, as well as opportunity areas, best practices, additional resources, and more. 

In January, Amazon Music confirmed over 55m global ‘customers’ were now using the firm’s various tiers; this number included an estimated subscriber count of approximately 50m, up 16m year-on-year. 

Last August, Amazon Music rival Apple Music launched Apple Music for Artists, which in turn was designed to rival Spotify’s analytics tools. 

And in November, Universal Music Group revealed its own data/insights app. 

The Universal Music Artists (UMA) app can be used to view personalized, global data insights from Spotify, Apple Music, Amazon and YouTube (with data from Deezer set to be included in 2020). 

At launch, Amazon Music for Artists is available globally in English to download via the mobile app store on either Android or iOS

Tell @Spotify and @AmazonMusic to #StopFightingSongwriters 

Tell @Spotify and @AmazonMusic to #StopFightingSongwriters

Songwriters - You must develop and flex your music business muscles or you’ll continue to be pinned down by those who do not have your best interests at heart. On Instagram tell @Spotify and @AmazonMusic to #StopFightingSongwriters

BMG RESPONDS TO ARTIST STREAMING REVOLT IN GERMANY: ‘IT IS TIME FOR RECORD COMPANIES TO CHANGE.’ 

  BMG RESPONDS TO ARTIST STREAMING REVOLT IN GERMANY: ‘IT IS TIME FOR RECORD COMPANIES TO CHANGE.’

As the Grammys continues to dominate discussion in the US music industry, an important story regarding artist streaming royalties in Germany is gathering pace.

Guest Post BY TIM INGHAM of Music Business Worldwide 

As MBW reported Friday (January 24), a group of managers and lawyers representing some of Germany’s biggest artists have written a joint letter to the leaders of the four biggest music rights companies in Germany – Universal, Sony, Warner and BMG. 

The agenda of the letter, undersigned by representatives of 14 artists, “becomes clear very quickly”, according to the Frankfurter Allgemeine Zeitung newspaper (F.A.Z), which published a more detailed story on the matter today (January 26) on the front page of its business section. Translated, F.A.Z says that the artist reps are demanding “more money from the booming business [created by] music streaming services such as Spotify and Apple Music”.

What’s also clear from the letter, according to F.A.Z: unlike prior artist protests against streaming, the letter does not direct its ire towards digital platforms, but instead “attacks record companies” and is “of the opinion that [the majors] are taking too much of the streaming millions”. 

It should be pointed out for context that most of the artists represented – including the 15m-plus-selling pop star Helene Fischer (pictured) and rock band Rammstein – have traditionally enjoyed large sales of physical records and downloads. 

According to F.A.Z, the artist reps say there is “an urgent and fundamental need to review and, if necessary, restructure the billing and remuneration model in the area of streaming”. This suggests that they may be seeking a switch to a ‘user-centric’ style of payment from the streaming services, who have to date been reticent to embrace this model. 

Last year, Deezer announced that it planned to launch a pilot of a ‘user-centric’ payment system in 2020, if it could gain the requisite support from the major record companies. 

“WE DO NOT FIND IT JUSTIFIABLE IN A WORLD IN WHICH RECORD COMPANIES NO LONGER HAVE THE COSTS OF PRESSING, HANDLING AND DELIVERING PHYSICAL PRODUCT FOR THEM TO TRY TO HOLD ON TO THE LION’S SHARE OF STREAMING REVENUES.” 

BMG SPOKESPERSON 

The letter contains a segment where the artist reps call into question the “adequacy of the remuneration” their clients are receiving from the record companies. 

The artist reps have asked record companies bosses to meet in mid-February in a Berlin hotel to discuss the letter, which F.A.Z reports has a tone “reminiscent of a court summons”. 

Sony and Universal are yet to publicly respond, says the newspaper. Warner has said it won’t be participating in the Berlin meeting due to antitrust concerns that would be created by powerful music companies plus so many representatives of stars coming together to discuss collective business arrangements. Instead, Warner says that “bilateral talks” are being held. 

The MD of JKP – the management company behind Die Toten Hosen – is Patrick Orth. A signatory of the letter, Orth says that the group of 14 artist reps have “very different motives” for backing the collective action. 

Of the music companies targeted, BMG, led by CEO Hartwig Masuch, has been the most forthcoming with its response to the letter. 

A BMG spokesperson said today: “We strongly welcome this attempt to highlight some of the inequities of the traditional record deal. This letter is signed by some of Germany’s most respected music managers and should be taken seriously. 

“We need a sensible, grown-up debate. We do not find it justifiable in a world in which record companies no longer have the costs of pressing, handling and delivering physical product for them to try to hold on to the lion’s share of streaming revenues. 

“The world has changed. It is time for record companies to change too.” 

The headline of the F.A.Z business story today is ‘Der Aufstand der Stars’, translated: ‘The Revolt Of The Stars’.

How Many Spotify Streams Are Necessary To Live Above The Poverty Line?  

How Many Spotify Streams Are Necessary To Live Above The Poverty Line? 

The royalties earned off of Spotify streams are notoriously low but do provide some income to artists. So just how many plays does it take for a musician to live above the poverty line? 

Guest post by James Shotwell of Haulix 

Spotify streaming royalties often upset artists, but how many plays does a musician need to live above the poverty line? We did the math. 

The streaming wars are raging on. Spotify has more than one hundred million monthly subscribers worldwide, which places the platform far ahead of its peers, but Apple Music and Amazon Music are gaining millions of new users with each passing month. Whether or not the global economy can sustain the numerous streaming platforms won’t be decided for some time, but whether or not artists can survive the streaming economy is a hot topic that needs to be addressed. 

Any industry expert will tell you that musicians today have it easy. There are more avenues for exposure than ever, recording music is (or can be) cheap, and an increasing number of artists are finding success outside the traditional label system. It is theoretically possible for anyone with access to a laptop and the ability to convey a melody to become a digital sensation who has fans all over the world without the aid of big label money (though, to be fair, big label money still makes a sizable difference). 

Streaming payouts are a relatively new revenue stream for musicians. No one is suggesting artists survive on streaming royalties alone. Still, with physical media sales bottoming out and competition for tour revenue increasing, the money made from streaming can have a significant impact on an artist’s ability to develop, not to mention sustain themselves. 

Still, every other week someone goes viral online and builds an entire career of the profits made from streaming royalties. The majority of these overnight sensations are young and without families to support, but they still have the cost of living expenses that need to be met. That got us to thinking: How many streams does it take to survive on streaming revenue alone? 

According to the Assistant Secretary for Planning and Evaluation (ASPE), the poverty line for single-person households is $11,770. If we ignore how that figure would be hard for anyone to live on in a major city (and most mid-size cities), then we can round up to $12,000 and use streaming revenue calculators to figure out how many Spotify streams someone would need to sustain themselves. 

At an average payout of $0.006 per song stream, a musician living in the United States needs 3,000,000 plays annually to have a gross income of $12,000. 

Of course, if the artist has a label deal the record company would get paid before the artist. Depending on the amount owed to the label, the artist may need millions of addition plays to see the same amount of income themselves. 

But what about people with families? The ASPE puts the poverty line for a family of four (2 adults, 2 children) at $24,250. Using the same average royalty rate, a musician would need 6,062,500 Spotify streams to earn that amount of gross income. 

These numbers get much bigger when the musician is part of a larger group. If a band has four members and all four have families where they were the sole source of income, the group would need to generate 24,250,000 Spotify streams to gross enough so each member’s family would be at or above the poverty line. 

Again, no one is saying an artist should survive on streaming royalties alone. Some will be able to make it work, especially if they have a large following and low overhead, but most will need to create as many revenue streams as possible to survive. The key to a long career in music today is through the development of a community around an artist and their work that promotes purchasing merch, physical media, and concert tickets. That has always been true, and likely won’t change anytime soon.

Here comes Amazon! 

Here comes Amazon!

Courtesy of Music Business Worldwide

Less than a week after the online giant launched its first fully free music streaming service, MBW has caught wind of the company’s next big plan to challenge the likes of Spotify. 

We understand that Amazon is currently in discussion with various large music rights-holders regarding the upcoming launch of a high fidelity music streaming platform – and that at least one major record company has already agreed to license it. 

I've heard this whisper from several high-placed music industry sources, who say the price of Amazon’s new tier will likely be in the region of $15 per month. It’s expected to launch before the end of 2019. 

“It’s a better bit rate, better than CD quality,” said one source. “Amazon is working on it as we speak: they’re currently scoping out how much catalog they can get from everyone and how they’ll ingest it.” 

The best known existing hi-def music streaming offering comes from TIDAL, whose TIDAL Hi-FI subscription tier costs $19.99 per month and offers CD-quality lossless streams at 44.1 kHz / 16 bit. 

In addition, TIDAL also offers a ‘Masters’ quality offering for pickier audiophiles, which presents thousands of albums at 96 kHz / 24 bit via desktop. 

“WITH AMAZON MAKING THIS MOVE, IT FEELS LIKE A POSITIVE STEP FOR PRICING FLEXIBILITY. SPOTIFY HAS JUST BEEN OUTMANEUVERED.” 

SENIOR INDUSTRY SOURCE 

TIDAL’s ‘Masters’ range is made possible by its partnership with digital hi-def music company MQA. It’s understood that Amazon has not partnered with MQA for its own HD tier. 

Meanwhile, Deezer offers a HiFi tier at a standard price of $19.99 per month, which, like TIDAL’s equivalent, streams music at 44.1 kHz / 16-bit via FLAC files. 

The world’s two biggest music subscription streaming platforms – Spotify and Apple Music – are yet to venture into the world of high fidelity audio. 

Will Amazon’s exploration of a launch in the area trigger their interest? 

A further senior US-based music industry source says, “Think about it: Amazon will have every tier of recorded music covered, from free streaming through to limited catalog via Prime, a full ‘Spotify rival’ in Music Unlimited and a hi-definition service – in addition to vinyl, CD, merch and more. We haven’t seen anything near what they’re capable of in music yet.” 

They added: “So far, Spotify and Apple have resisted launching a higher-price streaming tier, and [the labels] have resisted giving more away for the same [$9.99 a month] price. 

“With Amazon making this move, it feels like a positive step for consumer pricing flexibility, and good news for streaming ARPU generally. Spotify has just been outmaneuvered.” 

The launch of Amazon’s free music service on Alexa last week introduced an entry-level tier Amazon’s music streaming ecosystem. 

Amazon customers wishing to hear on-demand music without ads can upgrade to a Prime membership, which will offer them more than 2 million songs to choose from. And if an Amazon customer wants full, on-demand access to more than 50 million songs, they can sign up to Amazon Music Unlimited – for which a subscription locked to a single Echo device will cost $3.99 per month. 

For access to Amazon Music Unlimited across multiple devices, customers pay a $9.99 per month subscription, although those who already pay to be Amazon Prime members only need pay an additional $7.99 per month.

Amazon’s Ad Supported Strategy Goes Way Beyond Music 

Amazon is reportedly close to launching an ad supported streaming music offering. Spotify’s stock price took an instant tumble. But the real story here is much bigger than the knee-jerk reactions of Spotify investors. What we are seeing here is Amazon upping the ante on a bold and ambitious ad revenue strategy that is helping to reformat the tech major landscape. The long-term implications of this may be that it is Facebook that should be worrying, not Spotify. 

Guest Post By MIDiA analyst Mark Mulligan from his Music Industry blog 

In 2018 Amazon generated $10.1 billion in advertising revenue, which represented 4.3% of Amazon’s total revenue base. While this is still a minor revenue stream for Amazon, it is growing at a fast rate, more than doubling in 2018 while all other Amazon revenue collectively grew by just 29%. Amazon’s ad business is growing faster than the core revenue base, to the extent that advertising accounted for 10% of all of Amazon’s growth in 2018. 

"Spotify builds audiences to deliver them music (and then monetize), Amazon is now building audiences in order to sell advertising" 

Amazon is creating new places to sell advertising 

The majority of Amazon’s 2018 ad revenue came from selling inventory on its main platform. This entails having retailers advertise directly to consumers on Amazon, so that Amazon gets to charge its merchants for the privilege of finding consumers to sell to, the final transaction of which it then also takes a cut of. In short, Amazon gets a share of the upside (i.e. the transaction) and of the downside (i.e. ad money spent on consumers who do not buy). This compressed, redefined purchase funnel is part of a wider digital marketing trend and underlines one of MIDiA’s Four Marketing Principles. 

But as smart a business segment as that might be to Amazon, it inherently skews towards the transactional end of marketing, and is less focused on big brand marketing, which is where the big ad dollar deals lie. TV and radio are two of the traditional homes of brand marketing and that is where Amazon has its sights set, or rather on digital successors for both: 

Video: Amazon’s key video property Prime Video is ad free. However, it has been using sports as a vehicle for building out its ad sales capabilities and has so far sold ads against the NFL’s Thursday Night Football. It also appears to be poised to roll this out much further. However, Amazon’s key move was the January launch of an entire ad-supported video platform, IMDb Freedive. Amazon has full intentions to become a major player in the video ad business. 
Music: Thus far, Amazon’s music business has been built around bundles (Prime Music) and subscriptions (Music Unlimited). Should it go the ad-supported route, Amazon will be replicating its video strategy to create a means for building new audiences and new revenue. 

It’s all about the ad revenue 

Right now, Amazon is a small player in the global digital ad business, with just 6% of all tech major ad revenue. However, it is growing fast and has Facebook in its sights. Facebook’s $50 billion of ad revenue in 2018 will feel like an eminently achievable target for a company that grew from $2.9 billion to $10.1 billion in just two years. 

To get there, Amazon is committing to a bold, multi-platform audience building strategy. Whereas Spotify builds audiences to deliver them music (and then monetize), Amazon is now building audiences in order to sell advertising. That may feel like a subtle nuance, but it is a critical strategic difference. In Spotify’s and Netflix’s content-first models, content strategy rules and business models can flex to support the content and the ecosystems needed to support that content. In an ad-first model, the focus is firmly on the revenue model, with content a means to an end rather than the end. (Of course, Amazon is also pursuing the content-first approach with its premium products.) 

Amazon is becoming the company to watch 

So, while Spotify investors were right to get twitchy at the Amazon rumours, it is Facebook investors who should be paying the closest attention. Amazon’s intent is much bigger than competing with Spotify. It is to overtake Facebook as the second biggest global ad business. None of this means that Spotify won’t find some of its ad supported business becoming collateral damage in Amazon’s meta strategy – a meta strategy that is fast singling Amazon out as the boldest of the tech majors, while its peers either ape its approach (Apple) or consolidate around core competences (Google and Facebook). Amazon is fast becoming THE company to watch on global digital stage.