DECEMBER 2019 A COMPREHENSIVE STUDY OF THE POLISH MUSIC MARKET Jakub Sokołowski Wojciech Hardy Piotr Lewandowski Katarzyna Wyrzykowska Karolina Messyasz Karolina Szczepaniak Izabela Frankiewicz-Olczak The study was commissioned and funded by the Ministry of Culture and National Heritage 1 Table of contents The music market in Poland – most important conclusions ..................................................................................... 4 1. Poland’s recorded music, music publishing and synchronisation market 2016–18 ...................................... 8 1.1. The value of selected segments of the Polish music market ................................................................. 8 1.2. A detailed characteristic of the Polish market .......................................................................................12 1.3. Artist revenues according to data published by collective management organisations ...................14 2. Artists ....................................................................................................................................................................26 2.1. Artist popularity by content distribution channel ..................................................................................28 2.2. YouTube .....................................................................................................................................................38 2.3. Social media ..............................................................................................................................................43 3. Concert market ....................................................................................................................................................45 3.1. Concert attendance ..................................................................................................................................46 3.2. Number of concerts in Poland .................................................................................................................47 3.3. Value of concerts in Poland .................................................................................................................... 50 3.4. Music genres .............................................................................................................................................53 3.5. Mass-scale concerts and festivals ..........................................................................................................59 3.6. Cultural centres and classical music concerts ......................................................................................63 4. Export of Polish music ....................................................................................................................................... 70 5. Musical preferences of Poles .............................................................................................................................78 5.1. Musical preferences and their social context ........................................................................................79 5.2. Methodological note ................................................................................................................................ 80 5.3. An outline of Poles’ musical preferences ...............................................................................................81 5.4. Preference and recognition of individual artists ....................................................................................86 5.5. Musical preferences versus social stratification ...................................................................................87 5.6. Musical preferences of young people .................................................................................................... 90 5.7. Music preferences, phonographic market and musicians' popularity .................................................92 6. Institutional support for the Polish music market ............................................................................................94 6.1. Activities of state, local government and industry institutions ............................................................95 6.2. Media activities ...................................................................................................................................... 106 2 6.3. Industry events and awards .................................................................................................................. 107 7. Educational opportunities for the music industry ......................................................................................... 110 7.1. Music education ..................................................................................................................................... 113 7.2. Specialist arts and business education ............................................................................................... 123 7.3. Other education initiatives .................................................................................................................... 127 Appendices ................................................................................................................................................................. 129 A1. Research methodology .................................................................................................................................. 129 A2. Additional tables ............................................................................................................................................. 136 3 The music market in Poland – most important conclusions The report consists of seven thematically connected parts. Part one contains a description of the recorded music, music publishing and synchronisation market in 2016–18. Chapter two outlines the most popular artists in Poland broken down by the sources of their popularity. Chapter three presents the first comprehensive description of the concert market in Poland. Part four estimates the export value of Polish music and discusses the most important export directions. Chapter five describes the musical preferences of Poles, chapter six the institutional support for the music industry, and chapter seven the educational offer addressed to musicians in Poland. Data collected in the report is shown in the form of rankings, most often comprising 25 key elements of the given set. Based on the experience and practice of the music industry (e.g. Billboard1 charts: 200, Hot 100, Artist 100, the Polish Official Retail Sales Chart – OLiS2), the authors have decided to present collected data in the form of rankings. The detailed methodology of preparing the rankings, the data sources used and the manner of obtaining information are described in the methodological appendix. For the purpose of the report, a uniform method was used to create rankings of the most popular artists from individual music charts. The results are based on new databases collected from available online sources based on specially prepared automated tools. Owing to the diverse nature of collected rankings and aggregating information between them, the authors have been able to identify the most popular artists irrespective of the music distribution channel. The employed methods allowed for a comprehensive and internally coherent presentation of the Polish music market. This was possible in spite of the lack of comprehensive, full and unified data about the Polish music market. Parts of the report that require prudent analysis on behalf of readers due to limited data are clearly marked. In the authors’ opinion, public administration should spend the most energy and financial resources on improving the data collection process as well as monitoring and publishing data. Consequently, subsequent analyses of the music market could be more comprehensive in nature. This would facilitate the process of planning public policy and enhance the effectiveness of artist support, while enabling artists to gain greater popularity (also abroad). The tools developed in the course of working on the report as well as the analysed data sources may be used again to ensure methodological continuity of research on the structure of the Polish music market in the years to come. Nevertheless, they should be treated as a starting point, and be gradually supplemented and improved by data collected and made available for research purposes on the administrative level. The Polish music market does not differ greatly from foreign markets. Similar trends to those present globally can also be seen in Poland: • Increasing value of the music market and systematic return to the values before crisis it faced since the 2000s; • Growing share of independent labels in the phonographic industry; 1 https://www.billboard.com/charts 2 http://olis.onyx.pl/listy/ 4 • Ever greater role of streaming and the internet in building artist popularity; • Growing share of the concert market in artist revenues. What sets the Polish music market apart from the global one is, above all: • The share of physical sales on the recorded music market is several times greater and no clear departure from these formats has been observed; • Considerable importance and listenership of the radio, which remains unchanged despite the growing importance of streaming platforms and the Internet; • Relatively low popularity of disco polo – a genre unique to Poland; • Polish artists are much more