the REPORT Issue 331 | 13 November 2013
You have done a deal with BitTorrent. Also in this issue: What did it involve? I wouldn’t call it a deal, per se. I gave them all the PAGE 5: stems from my most recent album, Innocents. Twitter’s IPO... I made them available to anyone who wants to and beyond » download them and do their own mixes and remixes. I met with the guys from BitTorrent PAGE 6: last spring and [saw that] a lot of musicians use Pinboard: BitTorrent as a way of disseminating pre-existing Stats, deals, things like videos, singles or b-sides. I thought it startups and more » would be interesting to put something out there where anyone who downloaded it would be able PAGE 7: to do their own remixes and change the songs as Country profile: much as they wanted to. Ireland » What’s the reaction been? PAGE 8: The response has been great. The quality of Features: Moby click: remixing software – whether it is Ableton, Reason Aggregators evolve » or Logic – is pretty remarkable. In 1995, we had a remix contest for an album I put out. Some of talkingtalking digitaldigital withwith MobyMoby the remixes were good but at that point doing a remix was a lot more complicated. Whereas now With a number of artists busily squaring up to both Spotify and anyone with a laptop can do really good remixes. The quality is great. the labels about their streaming payments, Moby argues they Many parts of the industry regard are focusing too heavily on the short-term issues and becoming BitTorrent as synonymous with piracy. beholden to the idea of digital services as immovable monoliths. Were you concerned about working with them? Here he talks about using BitTorrent as a distribution partner, On the one hand, and maybe this is not an why railing against piracy is like yelling at the weather, why elegant thing to say, the fact there is a degree technology’s state of flux is a good thing and why algorithms can’t of controversy surrounding BitTorrent is one of the things that actually made me a lot more replace the arbitrary and surprise nature of human-led discovery. interested in it. When I met with them and they COVER STORY the REPORT | 13 November 2013 | Page 2 continued… explained to me what their platform is, it just think too much about trying to monetise and seemed in line with the ethos I have with regards miss the bigger picture, which is that platforms to the distribution of diff erent types of digital come and go – whether it’s Spotify or Pandora media. My feeling about piracy and the way or the original Napster or some digital platform in which music exists online is probably a lot that might be invented tomorrow. Bandwidth diff erent to the way most major labels think increases and diff erent types of piracy emerge. about it. All that is in a state of flux; but one thing that is not in a state of flux is that if a musician makes a So what is your stance on piracy? beautiful piece of music, someone will want to It is a tricky thing to talk about as I have to parse listen to it. my words. If I were to be completely honest I’d Over time an audience will develop who might probably end up alienating more people than look at the eff ectiveness of their approach. What have stolen the first couple of songs or first I already have alienated. On a very basic level, the major labels hopefully learned a while ago is couple of albums, but they might be willing to, I make music because I love making music. that punishing listeners is not the way to go. down the road, buy merchandise, buy access to One of the things that is really exciting about Spotify argued that the way to kill piracy live concerts or go to live concerts. I feel like the being a musician is taking the music that you was to make a legal service that was better music business hasn’t benefitted from taking a made and putting it out to the world and seeing – but its payments have come under fi re fairly shortsighted view to piracy in the here and what happens with it. It’s really a remarkable art recently. Where do you stand on this? now compared to a much happier and rosier form in that it’s one of the few forms of creative long-term picture. I understand that a lot of expression that people can experience while is like having an opinion about the weather. There are hundreds of millions of pieces of these companies are beholden to shareholders they are doing something else. You can’t really You can have super-strong opinions but the music floating around in the world online. and quarterly results – but I feel there has to be look at paintings when you are driving to work. weather isn’t paying attention. When people For any person to make the eff ort to listen to a better and more eff ective way to see things get all worked up about piracy, I just don’t see something that I have done is so flattering. It’s I have absolutely no idea how they [fans] will in the broader long term rather than in the that it’s all that eff ective. For the past 15 years such a compliment. So I can’t really be worked listen to my music or where they listen to it. Or if narrower short term. or so, the major labels have been incredibly up about how they are listening to it. For me the they are going to listen to it in its existing form or bent out of shape about piracy and they focus is on the music itself and the relationship David Byrne and Thom Yorke feel the if they are going to remix it. Or if they will listen haven’t accomplished anything. For the most that the listener might have to the music. money Spotify pays is not enough and to 10 seconds of the song or to an entire album. I interesting music companies and musicians refer to that as democratic chaos. Or egalitarian If every musician, label and manager really that new artists are getting a rough deal. it seems like their focus is making music that anarchy. I love that aspect of it. It seems that it focused on making the best possible music that they really love and then they put it out to the What I hope is that, if for some reason, it has, for quite a while now, been completely out they could and doing whatever they could to world and see what happens. dissuades artists from making music when of anyone’s control. really focus on and enhance the relationship the only reason they want to make music is to A major label’s criteria for evaluating things are with the listener, the rest would probably take get paid for it instead of wanting to be heard Regardless of our feelings about the way certainly a lot diff erent from mine. I don’t want to care of itself. That might be a very Pollyanna- – then by all means that is a good thing. I am digital music exists in the world, I almost feel criticise or judge too harshly their perspective, ish and naïve perspective, but I think too many all in favour of mercenary artists going on and that having an opinion about digital music but at some point there has to be an empirical companies almost go under because they starting app companies or become marketing COVER STORY the REPORT | 13 November 2013 | Page 3 continued… directors for muffler companies. being played on the same speakers. If it’s coming off the radio, they get very excited; but if it’s My approach is exactly the opposite. I believe coming off Spotify they get all worked up. From artists deserve the right to make money from my perspective it’s the same song being listened what they do but I think the clever musician in to by the same people on the same speakers. 2013 can find lots of ways to make a living. They How can you malign one delivery vehicle and can write music for movies or video games, applaud another delivery vehicle? they can do remixes, they can DJ, they can write songs for other people, they can develop apps. What is your advice to new acts who don’t There are so many interesting and challenging have the luxury of being signed and built ways for a musician to make a good living in up by a label in the pre-digital age? 2013 that to just focus on this [streaming] seems For kids who are starting out as musicians, it’s very odd and short sighted. so exciting as they don’t have to wait around for The other thing I find really funny – and sort a major label to notice them. They don’t have to of sadly ironic – is that, at the end of the day, wait around for any big media institutions to pay you have music coming out of speakers but so attention to them. They don’t have to wait for many people are getting worked up about the NME, Spin or Rolling Stone to notice them. They delivery mechanism that brings the music to don’t have to wait for MTV to notice them. They monolithic companies who only do one thing. artist that has been rejected by every monolithic those speakers. I don’t hear anyone getting up in can almost create their own luck. organisation can still take his guitar and go play arms about radio payments. It’s the same song The music business for decades was incredibly These media institutions are really questioning on a street corner and develop a fan base. In a compartmentalised and just existed as a series their relevancy when they strange way, how the system works now is that it of companies that only did one thing – like see that so many young really benefits artists most of all because artists record labels or publishers. In the digital future, musicians just don’t feel the have the ability to be as involved in the music in order to make a living, people just need to need to sign with a major institutions as they want to be. be incredibly flexible and adaptive. The days label or to pander to old of specialising have come to an end. People For artists, there are very conventional and media institutions that are need to learn to do everything. We are living in unconventional ways of making music, so accustomed to be being a strange quantum world where you have to be disseminating music, marketing music, playing pandered to. As a young incredibly flexible. music. It’s a remarkable time for the artists musician, you have to do themselves if they are willing to adapt and everything. Become the The new centres of power are now Apple, embrace the way things currently are. most well rounded musician Google and Amazon. Are they on the on the planet and you’ll artists’ side? Everyone assumes that technology is static. have a great career; you’ll If you look at the last 20 years, technology is The artists are really lucky as they can choose to be incredibly adaptable and incredibly unstatic. A lot of the companies that you won’t have to deal with be involved or they can bypass the system. An COVER STORY the REPORT | 13 November 2013 | Page 4 continued…
Pandora. I listen to music on YouTube. I buy music on Beatport. I have spent more money on music in the last 10 years than I did in the 10 years prior to that. As far as discovering new music, the blogs can sometimes be interesting. One of the things that really make cultural life in LA great is college radio. It seems like a huge part of discovering music is trusting someone else’s curatorial abilities. There is so much music out there that you want 10 trusted voices like college radio DJs or journalists. used to seem monolithic don’t even exist any more. If we were having this conversation 15 Do you prefer human discovery rather years ago, we’d be talking about CompuServe, than using algorithms? AOL and Netscape. It doesn’t benefit anyone to When I was first shown Pandora and those get too attached to the status quo because the early algorithms, I was pretty impressed by it. status quo is, literally, always changing. Generally I trust people, but with some of these How has social media changed your algorithms it is pretty disconcerting as they are relationship with your fans? making recommendations that are surprisingly relevant. I read a lot of books on Kindle, but the Social media is great as you can communicate Kindle recommendation algorithm is so damn directly with people and it’s more dialectic doesn’t mean it’s special. Some people tweet the way they were. ass-backwards. For example, if you read a book where, if you say something, people respond. once a month and what they forget about is There were some really nice things about the by Lee Childs the Kindle algorithm recommends The old way was that the musician would their followers are following hundreds of people way things were if you were U2 or Radiohead. a book by Lee Childs. emerge from their ivory tower once every so a tweet literally shows up on a screen for Most musicians 10, 20 or 30 years ago were 18 months, do a few interviews and send out about 10 seconds – like an old-time stock ticker. Some music algorithms are surprisingly neglected by major labels, neglected by major missives from on high. Their audience would accurate and relevant, but at the end of the Sometimes people are very disappointed media and couldn’t find an audience. For read these and then wait 18 months for more day what they don’t have is the arbitrary and that they don’t get more of a reaction from the smaller artists, I think they are generally communication. surprise element that humans have. If I am a Facebook, Twitter or Instagram update – benefitting quite a lot at this point. listening to my favourite college radio station, Now Thom Yorke might have a pumpkin spice and that’s because it’s only showing up on How do you consume and discover the DJ might play a Black Flag song followed by latte and tweet a picture of it. Dave Grohl can someone’s screen for a minute. That is why I music? a Bon Iver song followed by a Frank Sinatra song send an Instagram of the beer he just drank. It’s think a lot of musicians who are used to the old followed by some obscure minimalist techno. sort of an interesting and, at times, mundane way of doing things are having a really hard time For me, I really like portability and convenience The fantastic arbitrary aspect of it is the one dialectic. One thing I would say to a lot of adapting to almost every aspect of the digital so I still buy almost all of my music on iTunes. I thing that none of the streaming algorithms can musicians is that just because you are doing it future because they want things to go back to bring my iPod everywhere. I love Spotify. I love do. As much as I love Hank Williams, sometimes it’s really nice to have a Hank Williams song followed by a Pantera song. BEYOND MUSIC the REPORT | 13 November 2013 | Page 5
Twitter’s IPO... and beyond Twitter has finally gone new funding at a valuation of just under the markets deem it to be worth when and ways, particularly its contrast to those public but, unlike Facebook, $5.3bn, although its 24m active users would if it goes public – and that valuation could of Facebook (which stuttered out of the hint at a valuation of more like $1.6bn with swing back and forth thereafter just as gate on its first day, although it has since it didn’t have a disappointing the Pandora formula, or around $2.4bn with Pandora’s wobbled whenever a new iTunes recovered) and Zynga (which did well first day on the stock market. the Twitter/Facebook formula. Radio rumour broke cover. initially, but has since slumped). Priced at $26 per share, the company’s Or, of course, these formulae are a load of The fact that Twitter’s IPO is seen to have Spotify takes flak for its historical losses, stock ‘popped’ to $44.90 by the end of that old bunkum and Spotify gone smoothly will have but a similar track record didn’t put Wall first day, valuing Twitter at more than $24bn will be worth a positive impact Street off Twitter. Twitter’s revenues in and making a fortune for its investors and whatever in other 2010, 2011 and 2012 were (respectively) executives (with co-founder Evan Williams’s $28.3m, $106.3m and $316.9m, while its net 10.4% stake being worth a cool $2.8bn). losses were (respectively) $67.3m, $128.3m and $79.2m. More suddenly rich white guys in Silicon Valley, then. But is there any more the music In the first six months of 2013 alone, the industry can learn from Twitter’s IPO? It’s company reported revenues of $253.6m worth crunching the day-one figures but a net loss of $68.1m. Cumulative losses a bit more and thinking about the of $342.9m in three-and-a-half years, which potential implications for digital music puts Spotify’s $178.3m of cumulative losses services, like Spotify, on their own for 2010, 2011 and 2012 in a new light. (rumoured) road to IPOs. The main point: investors believe that Take active users. Twitter’s latest Twitter can head into profit through figures show it has 232m monthly active rocketing advertising revenues, particularly users – so that $24bn valuation values on mobile. each of them at just over $103. By contrast, Spotify’s mix of advertising and Facebook is worth $113.7bn at the time of subscriptions is a different beast and its writing, which with 1.2bn active users values on-demand nature means it isn’t a perfect each of them at around $98. match for Pandora, even. Can we apply the same reasoning to digital Investor confidence is the key, and while music services? Pandora is the obvious one: Twitter’s early days as a public company with its market cap of $4.8bn and 70.9m may have boosted it – good news for active listeners in October, that values its “Twitter’s latest figures show it has 232m monthly consumer technology companies of all users at just under $68 each. active users – so that $24bn valuation values kinds – be wary of reading too much into Now think about Spotify, which in its significance for the leading lights in the September was rumoured to be seeking each of them at just over $103” digital music world. TOOLS the REPORT | 13 November 2013 | Page 6
Pinboard:
Deals... Stats: Anssi Kela’s streaming earnings Scooter Braun (manager of Justin Bieber, Carly Rae 500000 Jepsen and Psy) is leading a group of managers å TUSFBNT and musicians in a $120m venture to invest in new SFWFOVF 400000 technology companies and thereby strengthen their å collective position. 300000 å The UK government’s Technology Strategy Board has å awarded £250k to anti-piracy fi rm MUSO to help it200000 develop its tools. The company will test its technology with selected clients in April next year. 100000 Spotify is reported to be close to raising $200m in a new round of funding from California VC Technology 0 .BS"QS.BZ+VO Crossover Ventures (which has previously invested in Cumulative data from all on demand Total: €2,336.9 for Facebook and Groupon). streaming services. The share is marginal 1,058,313 streams for services other than Spotify. Crowd-funding platform PledgeMusic has New Service... expanded with the launch of Shoot My Gig in 300 may be a new company, but it’s helmed by some familiar partnership with Moshcam to fi lm live concerts faces: it’s the former boss of Warner Music Group’s recorded music division Lyor Cohen’s new startup, working with his old colleagues Levoton tyttö single that it will sell direct to fans. Todd Moscowitz and Kevin Liles. Named aft er the same Spartan warriors that inspired the fi lm 300, the company is backed by Spotify revenues Apr-2013 Free Premium Rhapsody co-owner Columbus Nova and a $5m investment from + unlimited Google. 300 sits somewhere between a label and a management company, with digital as core to its business; Cohen says he’s spent streams 220,571 194,782 Tweets... much of his time since leaving WMG soaking up knowledge from revenue €79.9 €798.6 @popjustice I wonder how much more work would get digital distribution fi rms. 300 is another example of the blurring of the boundaries between labels and managers, but it’s Google’s revenue per stream €0.00036 €0.00410 done in the ‘tech’ world if there wasn’t this preoccupation investment – a stake in content! – that makes the company an with “beers”. intriguing prospect for 2014. Source: Anssi Kela, November 2013 @mr_trick As easy as it is to paint Google as The Big Behemoth its got to be said that YouTube has more features than anyone to upsell to fans. YouTube clip... SoundCloud track... @laurasnapes throw your eff orts behind something meaningful and lasting, not banning a song that no-one Lily Allen is back, Back, BACK! With a ‘baggy pussy’. Faber’s Darkside radio play, featuring Pink Floyd. will give a shit about in a year http://tinyurl.com/kwgjyue http://tinyurl.com/k6dat8e MARKET PROFILE the REPORT | 13 November 2013 | Page 7
Ireland *SFMBOESFDPSEFENVTJDTBMFT As one of the European countries80 åNJMMJPOT USBEFWBMVF Ireland stats %JHJUBM most aff ected by fi le-sharing70 and Population: the region’s economic collapse,60 1IZTJDBM 4.7m 50 Ireland continues to face tough GDP per capita: 40 times for its recorded music30 US$ 41,700 industry. 20 Internet users:
10 4PVSDF*'1* According to the IFPI, Ireland saw recorded 3.7m 0 music sales fall an annual 13.7% to €32.6m in Broadband households: trade value last year. Physical sales saw a huge 1.6m decline of 21.6% to €19.7m, while digital formats eircom’s MusicHub service in July this year hints though: the rollout of Spotify in the country in only grew 2.1% to €12.9m. The market thus that hopes might have been misplaced with late 2012 should provide a broader diversification Mobile subscribers: ended 2012 with a revenue split of 60.3% for regards to music’s potential for telcos to attract of the digital market, something that will 5.5m physical sales versus 39.7% for digital ones. new customers and/or prevent churn. hopefully help to curb the impact of the ongoing Smartphone users: decline in physical sales in the mid-term. Totalling €11.5m, download revenues increased In talks with Music Ally, Mark Crossingham 2.8m by 10.8% in 2012 to account for 89% of digital (MD of Universal Music Group Ireland), claimed “Spotify has great potential here and they’ve Sources: IFPI income. Single downloads grew 51% to €6.6m, that the failure of MusicHub was down to a made a big commitment to Ireland,” said while full albums saw a 38% expansion to €4.9m. simple factor: “In the whole time it was active, Crossingham. “In fact a huge marketing available in Ireland include Deezer, Napster, Rara, IFPI did not disclose Ireland’s streaming revenues they failed to launch a version for mobile.” campaign has just launched. I think [the Irish Rdio, Sony Music Unlimited and Xbox Music. in 2012, but these were clearly marginal: digital However an undisclosed source added, “The streaming business] will mirror whatever the UK income other than downloads (including management weren’t up for the job. They didn’t looks like in five years. The problem in the past It is hoped that the sheer diversity of off erings ringtones and online advertising) accounted for understand the product, least of all know how is that many services have launched in the UK now available to Irish consumers will be only €1.4m, or 11% of total digital revenues. to market it.” and not here. That isn’t really the case anymore appealing enough in the face of growing eff orts and we’re more in track with the UK.” to reduce piracy. New legislation allowing for Figures provided to Music Ally by local trade Upon its launch in December 2010, MusicHub the blocking of sites that facilitate illegal file- body IRMA indicate that, so far, this year has off ered streaming music to eircom’s broadband Dick Doyle, director general of IRMA, added, “I sharing meant that Irish ISPs were ordered to been no better for the Irish recorded music customers for free and then charged €5.99 or don’t see why we wouldn’t embrace streaming block The Pirate Bay this year. industry: in the first half of 2013, sales totalled €12.99 a month if they wanted to, respectively, like the Nordics. However, while the Irish €18m – a staggering year-on-year decline of download 15 or 40 MP3s. Non-customers paid industry’s decline certainly resembles the However, while the launch of the likes of Spotify 23%. The combination of a much-weakened €6.99 a month for streaming-only access, then downturns seen in the likes of Sweden years combined with tougher measures against economy and widespread file-sharing is blamed €11.99 for streaming plus 15 downloads or ago, getting on-demand streaming to play a file-sharing could be a good start for the Irish for the state of the local industry. Making €22.99 for streaming plus 40 downloads. similar role in reviving the market is bound to be recorded music industry to regain its health, we much more challenging in the face of the stark can’t help but remain sceptical in the face of the matters worse, the shutdown of local ISP Everything’s not lost for access models in Ireland, economic diff erences.” Other streaming players country’s ongoing economic challenges. FEATURE the REPORT | 13 November 2013 | Page 8
Aggregators evolve
Following our article on the burgeoning artists and label services market (see Music Ally Report #327) we look into the more traditional DIY aggregators. With pioneers in the digital music business, the sector gained a reputation for small margins and little development – but it has seen a few interesting moves as of late. One of the most intriguing developments in this space is the recent involvement of UMG Sweden. In March 2013, the company with local aggregator Record Union a few for bulk orders. CD launched its own aggregator in collaboration months ago to facilitate the discovery of Baby’s fees are non- with digital agency Oakwood and technology talent amongst the distributor’s clients, with renewable, unlike provider X5 Music. The twist in the service a dashboard to identify who its top artists TuneCore, whose is its Scouts feature: a team dedicated to are in any given country. It’s hard to tell how prices are cheaper finding new acts with potential amongst the these sorts of initiatives will pan out, but it’s on the first year but platform’s clients, drawing on UMG’s A&R and nevertheless interesting to see players in this require clients to pay marketing expertise. space acknowledging the ongoing relevance more subsequently. of major labels’ marketing departments, Upon collaborating with a Scout, clients must Both companies resonating with some of the views in artist sign a matching right, which provides UMG rolled out their own and label services companies. with a priority to sign them. London-based music publishing Swedish singer-songwriter Anna Wihlke On the other hand, CD Baby and TuneCore administration was one of Spinnup’s first scouted artists; – widely recognised as two of the oldest services in mid- UMG Sweden has just signed Swedish singer and most established global aggregators 2011; interestingly, Linnea Källström through Spinnup to be – continue to be very focused on the DIY TuneCore also been seeing significant growth in sales the new local head character for Disney’s market and off er some of the lowest rates. recently launched a new off ice in Japan. coming from Russia and Latin America teenage series Violetta. The former charges one-off fees of $49 per In talks with Music Ally, TuneCore’s Chris following the launch of the iTunes Store Also in Sweden, Sony Music signed a deal album and $12.95 per single, which discounts Mooney highlighted that the company has FEATURE the REPORT | 13 November 2013 | Page 9 continued...
of DIY digital tools for fulfilled to a certain extent, but aggregator space for A&R and potentially for business musicians. Global digital clients who are actually able to make a living purposes as an extension of their artist/ distribution is just one of from their music will continue to number in label services. Second, traditional standalone the many features off ered the handful for the foreseeable future. Yet aggregators like CD Baby and TuneCore by the company, which having the possibility to sell their releases carry on, fighting for scale with tiny margins. include mobile apps, globally across major DSPs has enhanced Finally, self-service platforms appear to merchandising stores, the excitement of making music for acts in be increasingly used as feeders into label a mailing solution and a their teens or early twenties. Some of them services companies (Zimbalam and, to a wide variety of widgets. even grew to become signed by a major certain extent, AWAL). label – such as the case of Ed Sheeran or “DIY is about eff iciency On a final note, the majors’ incursion in this the Zac Brown Band who used to distribute and low cost,” space could also play a part in the recent their material on, respectively, TuneCore and ReverbNation’s CEO claims made by Merlin’s CEO Charles Caldas, ReverbNation. Mike Doernberg told who warned about the inflation of market Music Ally. “The price To sum up, it is worth pointing out three shares through independent distribution (see of distribution will overall trends in the market. The first one Music Ally Bulletin, on 24/10/13) for securing eventually get to zero, sees major labels more involved in this better licensing terms with digital services. in both territories. Building up its Music but distribution does not Publishing Administration service, the drive monetisation. That’s marketing, and we company has just launched a Song provide a powerful suite of tools for that.” Registration Manager. Thus it is not surprising to see ReverbNation An interesting competitor is Believe Digital’s outsourcing its distribution platform from own DIY aggregator Zimbalam. Launched INgrooves. Should distribution indeed in 2009, the service benefits from its parent become increasingly commoditised, supply company’s distribution infrastructure and chain providers such as Consolidated provides clients with a mailing solution Independent and FUGA could perhaps similar to MailChimp. Zimbalam combines grow their role in the indie sector. These low, now-renewable, one-off fees for companies do not provide retail marketing distribution with a 10% revenue share, services, focusing instead solely on the arguably placing the company’s model closer delivery aspect of digital distribution. to that of artists/label services providers. It is still hard to see the aggregator sector Also moving away from pure aggregator- growing its footprint in the music industry style services, ReverbNation continues to significantly. Early promises of market access off er one of the most comprehensive sets democratisation for all musicians have been Music Ally Music Ally is a music business information and strategy company. We focus on the Our clients include: Music Ally is an example of change taking place in the industry and provide information and insight into every perceptive journalism at its aspect of the business, consumer research analysing the changing behaviour and “ best, with unrivalled coverage trends in the industry, consultancy services to companies ranging from blue chip of the digital music sector. retailers and telecoms companies to start-ups; and training around methods to digitally market your artists and maximise the eff ectiveness of digital campaigns. We also work Andrew Fisher, CEO, Shazam Entertainment with a number of high profi le music events around the world, from Bogota to Berlin and Brighton, bringing the industry together to have a good commonsense debate and get some consensus on how to move forward. The Team
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