ISSUE 377 | 28 OCTOBER 2015

Contents 06 Beyond Music – thereport Reviewer discretion advised 07 Pinboard: Stats, deals, startups and more 09 Country profile: The Philippines

Unsafe harbour?

Sink or swim for digital music 2

ISSUE 377 28.10.15 COVER FEATURE

ever generalise about the technology and music industries being at loggerheads. music:)ally readers are thankfully well aware Nthat it’s much more complex and nuanced than that. In 2015 there are plenty of ‘music people’ working within technology companies; and there are plenty of ‘tech people’ working within music firms. Even within an individual company like Google, there are elements that have positive, collaborative relationships with music rightsholders and creators. And yes: other elements that… don’t. Most attempts to paint a picture of music and tech as two “sides” in a battle come from a position of prejudice, yet there have been many such straw man arguments down the years. Expect another one in 2016, then, when long-rumbling complaints about digital music services and European safe harbour legislation move into a new phase. Not that these complaints aren’t already public. In fact, the heads of music industry bodies have been speaking out about safe harbour increasingly openly and at length in the past year. Unsafe harbour? “How can it be that UGC services can use safe harbour legislation to avoid the need to pay a licence and insist that they are mere Sink or swim for digital music conduits of content when their business models are predicated on monetising the The current SoundCloud/PRS face-off is a foreshadowing of the single biggest issue that will face the creative works they carry?” asked PRS for publishing sector and UGC in 2016. At its heart is the viability (or not) of current regulations around Music boss Robert Ashcroft at the collecting safe harbour. On the extreme ends are two entrenched positions – the creator’s right to create and the society’s AGM in May. “Laws that were designed to exempt copyright owner’s right to make available and monetise. Normally these are complimentary issues but in passive intermediaries from liability in the some cases they can be polar opposites – especially when a commercialised intermediary is involved. early days of the internet – so-called ‘safe

report SoundCloud/PRS is the opening salvo in a much wider battle that will be decided next year and, within it, harbours’ – should never be allowed to exempt active digital music services from rests the fate of music online. having to fairly negotiate licences with the 3 I have immunity based on the safe harbours, and if you ISSUE 377 safe harbour enables some digital services 28.10.15 COVER FEATURE don’t agree, sue me; but when we get big enough, we trust to use massive consumption of music on you’ll rather do a deal. And because we have all your their platforms to build value for themselves rights holders,” wrote IFPI head Frances music already, if we don’t like your offer, your music stays – all at the expense of that music’s creators Moore in a July blog post. up there and you’ll have to send us notice and takedowns” and rightsholders. “There’s a distortion in the market: a lot “Selectively, of course, some of them do of the value is coming in not to the creators, service provider is limited to the technical as “technical, automatic and passive” in its admit knowledge if rightsholders submit a but being hijacked by the tech corporations process of operating and giving access nature? Rightsholders argue that it does claim for their works and if they monetise not paying the rates they should be,” said to a communication network over which not – and thus these services should not be the associated sound recordings; but the BPI chief Geoff Taylor at his body’s AGM information made available by third parties protected by safe harbour. net result is payments that represent a mere in September. “We need the support of is transmitted or temporarily stored, for the “They’re pushing content, recommending fraction of the true value these platforms government, clarifying the EU safe harbour sole purpose of making the transmission content and adding all kinds of optimised derive from music,” said Ashcroft at the PRS rules behind which those tech giants hide.” more efficient; this activity is of a mere features around the content,” says one for Music AGM. These and other public statements are technical, automatic and passive nature, industry source. “That’s not automatic and Even before PRS sued SoundCloud, part of a wider campaign that may come which implies that the information society passive.” They characterises the attitude Ashcroft had emerged as a key figurehead to a head in 2016 with two separate but service provider has neither knowledge of of the UGC services thus: “I have immunity for the push to clarify the safe harbour very-much-related events: PRS for Music’s nor control over the information which is based on the safe harbours, and if you rules in Europe. In 2014 he co-wrote (with Dr copyright infringement lawsuit against transmitted or stored.” don’t agree, sue me; but when we get big George Barker) a paper addressing the issue: SoundCloud; and the results of a European enough, we trust you’ll rather do a deal. And Is Copyright Law Fit For Purpose In The Commission consultation into whether (and YOUTUBE AND SOUNDCLOUD because we have all your music already, if Internet Era? You’ll already have guessed its how) EU safe harbour legislation needs to be ARE JUST THE FIRST OUT OF we don’t like your offer, your music stays up conclusion. modernised. THE TRENCHES there and you’ll have to send us notice and “Business models that did not exist in the takedowns.” mid-90’s when the DMCA provisions were JUST WHAT IS AT STAKE If you want one question to summarise Expect to hear the phrase “value gap” a crafted, and online services that were not HERE? the music industry’s big lobbying push lot more often in the coming months. That’s foreseen at the time, are claiming protection in 2016, it’s this: does what happens with the root of the complaints from the music under safe harbours that were not intended Familiar to some and impenetrable to music on YouTube and SoundCloud count industry: that the current interpretation of to cover them,” wrote Ashcroft and Barker. others, the arguments over safe harbour are “The safe harbour regime was introduced worth breaking down in order to get a sense before broadband, file sharing, social media of why music rightsholders feel so aggrieved and apps, and at a time when knowledge of with the current legislative framework – or more accurately, how it is being interpreted – and how they envisage it changing. In Europe, it all stems from the 2000 directive on electronic commerce, which took its cues from the US Digital Millennium Copyright Act (DMCA) of 1998. And the relevant clause is the one explaining how online services quality for exemptions from liability for the content hosted on or passing through them.

report It says, “The exemptions from liability established in this Directive cover only cases where the activity of the information society the 4 This is another key plank in the rightsholders’ arguments against the current ISSUE 377 28.10.15 COVER FEATURE application of safe harbour in Europe: that the sheer scale of YouTube and SoundCloud is hampering the growth of the music services that do not quality for safe harbour protection – what was passing through the network was Spotify, Deezer, Apple Music and the rest” limited at best.” of YouTube and SoundCloud is hampering The paper makes the case for the current the growth of the music services that do not application of safe harbour having nurtured a quality for safe harbour protection – Spotify, “parasitic transfer” of value that is now acting Deezer, Apple Music and the rest. as a brake on the music industry’s growth. In his AGM speech, Ashcroft drew “The free rider, or economic parasite, attention to the separate debate about lets others incur the risks and costs of the merits of freemium streaming business creativity, invention and discovery and simply models, pointing out that pressure on Spotify imitates and appropriates the successful to restrict its free service must be set against creative outputs and practices,” it claimed. the competing free services with no such “The economic parasite can then undercut restrictions. market prices, thereby reducing returns for “They have to compete with user- investment in creativity and innovation and generated content platforms, which creating a fundamental obstacle to market have all the content anyway. Even when entry and competition.” Beyoncé made her new single, ‘Die With You’, available exclusively on Tidal, it was BEYOND THE MONEY, WHAT available on YouTube within minutes,” said ELSE HANGS IN THE BALANCE? Ashcroft. early days; plus it has only rolled that out in or SoundCloud have returned to the music “Spotify can’t feed its subscription layer Under the above theory, the growth of the US so far. industry will touch on all this – and we can without bringing consumers into the ad- YouTube (acquired for $1.65bn in 2006 and Both could and would also argue that they expect to hear regularly about the rise of Psy, funded layer – and they can’t get them into now worth countless more to Google) and have played important roles beyond payouts Lorde, Lindsey Stirling, Drake and others. the ad-funded layer unless they have all the SoundCloud (eliciting valuations of $1.2bn in in helping artists reach more fans with their About that “fundamental obstacle to content that is available on UGC platforms. December 2014, the last time new funding music; understand the metrics behind that market entry and competition”, though. This If they don’t carry Taylor Swift or Beyoncé, was being rumoured) would be seen as listening in great detail; and make money in is another key plank in the rightsholders’ they’re not only at a pricing disadvantage parasitic, especially when those valuations other ways (e.g. touring) accordingly. Any arguments against the current application of but also at a content disadvantage. This is are compared to the money they have paid argument about how much value YouTube safe harbour in Europe: that the sheer scale unfair competition.” rightsholders and creators during their growth. SO WHAT NOW? Both companies would have their own arguments in response. Some The PRS/SoundCloud case is going would be financial: YouTube said in to be a crucial test of the way February 2014 that it had paid out the current legislation is applied. more than $1bn to the music industry, No wonder that when PRS for then this week said it had paid more Music announced the lawsuit, in than $2bn “in the last couple of years its background document sent to alone”. SoundCloud has paid mere journalists, it claimed that “[a]mongst

report single-digit millions out through its On other defences, SoundCloud is SoundCloud advertising initiative so seeking to rely on the European ‘safe far, but has the argument that it is very harbours’ for online intermediaries” in the 5 We recognise that safe harbour as it was originally defined is important and valid.

ISSUE 377 This is about the unintended consequences of how parties are seeking to construe 28.10.15 COVER FEATURE safe harbour 15 years down the line” – Rights holder

order to argue that its existing (free) service Music rightsholders do feel encouraged does not require a licence. that they’ll get a fair hearing in Europe, SoundCloud continues to negotiate given the current political climate around licensing deals for its upcoming premium big technology companies from the US. The subscription service. This, since it sources latest crop of EC commissioners are seen as its music from rightsholders, is a much less more minded to challenge companies like problematic licensing model – even if there’s Google, Facebook, Amazon and Apple on a haggling to be done over the details as with range of subjects, from privacy and anti- any on-demand streaming service. The issue competition issues through to safe harbour. is the free, user-generated content (users Don’t forget either that two of the leading including artists and labels) service. fully licensed streaming services – Spotify SoundCloud’s growth behind the safe and Deezer – hail from Europe. That said, harbour has led to limited sympathy viewing this through a lens of ‘plucky even from rightsholders who appreciate European startups facing unfair competition the positive role it has played in music from big bad American YouTube’ is discovery. “They have built a massive complicated by SoundCloud (headquarters: service with 175m users, with huge Berlin); that’s not to mention that certainly valuations and lots of VC money piling in, Spotify and probably Deezer – depending and they’ve built this without going about it on how or even ifV its IPO goes – have built in the proper way,” claims one. test the current application of safe harbour over the rights of internet users in their own more “value” from their traditional licensing Be wary of any portrayal of YouTube and in court and to encourage policymakers to commercial interests. The ultimately canned deals than SoundCloud has from its use of SoundCloud as services that are avoiding clarify the legislation. SOPA legislation in the US was problematic safe harbour. licensing deals. In the latter’s case, it is actively Expect to hear the word “clarify” a lot, in several ways, for example; but the ferocity It is hard to say which way the PRS/ seeking deals for the new subscription service, too. “The system, as it is today, is best of the backlash against it remains fresh in SoundCloud lawsuit will go, if it gets to so the argument is about its attitude towards described as ‘notice and takedown’,” Sony/ minds throughout the creative industries. court, and it is just as hard to say which way the free tier. And YouTube? It has licensing ATV’s Antony Bebawi recently told music:) The risk in 2016 will be a repeat of that European legislators will lean when deciding deals, but many rightsholders believe that its ally . “The onus is on the rightsholder to polarising campaign and claims that the whether the safe harbour regulations need use of safe harbour gives it a much stronger police everything. It is difficult to know, music industry are self-interested luddites modernising. And even if both go the way bargaining hand at the negotiating table than actually, who has got the burden of having trying to sweep away safe harbour entirely of rightsholders, there will be no immediate rivals like Spotify. to deal with it.” – blithely unaware of the havoc it would play change: instead, the new legal landscape He added, “There have been conflicting with just about every aspect of the modern will simply form a backdrop for more INTO 2016: PRE-EMPTIVE decisions coming out of different courts internet. licensing negotiations. LOBBYING ON THE RISE about whose liability it is to monitor what “You’ll get people saying we’re trying to Clarifying safe harbour may make it clear is happening on platforms like YouTube and remove safe harbour and that the internet that YouTube, SoundCloud and other UGC- With a European consultation on safe SoundCloud. I don’t think there is a really will fall apart,” says one rightsholder. focused services that may follow them need harbour underway, everyone concerned – clear interpretation of the current legislation “That’s absolutely not what we’re saying. licensing deals upfront. But how exactly tech companies and music bodies alike – is anyway.” We recognise that safe harbour as it was those deals should be structured will be preparing their submissions and cranking up Lessons have been learned from past originally defined is important and valid. entirely up for negotiation. Which, based on

report their lobbying efforts as we move into 2016. scraps between elements of the music and This is about the unintended consequences the famously secretive deal between PRS There’s a sense among the rightsholders tech industries, when rightsholders found of how parties are seeking to construe safe for Music and YouTube, will not be up for that next year is the crucial time – to both themselves painted as censors trampling harbour 15 years down the line.” public debate. :) the 6

ISSUE 377 28.10.15 BEYOND MUSIC

Is the perceived ‘honesty’of the customer review heading in Reviewer discretion advised the same direction as advertorial and massaged statistics?

often massaged these numbers by getting multiple accounts to repeat play tracks on sites like YouTube and SoundCloud, playing a cat and mouse game as these services put systems in places to red flag any mazon has filed a massive lawsuit suspicious play trends. There against 1,114 people it is claiming are even sites that explicitly have posted fake reviews on the sell themselves on being able site. The details of the case reveal to game numbers, boosting Ajust how organised the whole thing is, with Facebook likes and Twitter individuals going onto fiverr.com (“the followers. BuyRealMarketing marketplace for creative & professional is one such company offering services”) and offering to give five-star this (“The Most Reliable Place to reviews for as little as $5 a product. (Fiverr become more common. film about the Krays) with a two-star Buy Youtube Regular Views Live Customer itself is not part of the legal action and has This triggered growing distrust among review. Undaunted, the poster for the film Service to Help You 24 Hours a Day, 7 Days stressed it is assisting Amazon in its moves consumers that critical objectivity was featured other four- and five-star reviews a Week”), but it is far from the only one. to clean this up.) being sacrificed on the altar of commercial but sandwiched the Guardian’s two-star The modern dichotomy of “paid critic Amazon issued a statement that said, priorities. Could you really trust that five- review between the shoulders of Ronnie = untrustworthy” and “customer review = “While small in number, these reviews can star review of that album when the act’s and Reggie Kray, cleverly burying it by honest” has been crumbling for a while. significantly undermine the trust that label has paid for a back cover ad? suggesting more stars lay behind the But along with gamed online stats and this consumers and the vast majority of sellers Amazon was the place where consumer- photos while also thumbing its nose at the Amazon scandal, the whole edifice is falling and manufacturers place in Amazon, which driven reviews went mainstream and Guardian’s reviewer. Equally, posters for down around our ears. in turn tarnishes Amazon’s brand.” another watershed moment was when comedian Stewart Lee’s current A Room The phrase “lies, damned lies, and This could prove a significant turning theatre shows, notably The Book Of With A Stew show has a four-star review statistics” (variously attributed to Mark point in crowd-sourced and UGC reviews. Mormon, ran ads that were entirely made from The Guardian (“More skilful and playful Twain and British PM Benjamin Disraeli, The selling point for years on online retail up of glowing praise, gleaned from social than ever”) next to a mauling from The Daily among others) used to be a maxim deployed sites is that these were “real” and “honest” media, from people who had been to the Telegraph (“Stewart Lee is not funny and has to encourage the public to treat with grave reviews by “actual” people expressing show. The point was explicit: here are nothing to say”), the notion being that Lee’s suspicion anything published or said by their “genuine” opinions. The advertorial in reviews by people who actually paid to see audience are very much in on the joke. those in power as they could contort things consumer magazines and websites long ago the show and not copy begrudgingly filed This is a new twist on a relatively old to suit their own ends. blurred the lines between advertising and by a weary theatre critic who possibly has dynamic. The music industry has, for the If the public themselves are now editorial, but for years titles were terrified an axe to grind. past decade, had to confront erroneous complicit in this then we are in a furious race

report of losing lucrative advertising clients and Some have taken to turning bad “praise” in the form of online analytics. to the bottom. There is far more at stake suspiciously positive reviews of everything reviews to their advantage. The Guardian In seeing public play figures as “proof” of here than just something that “tarnishes from records to lipstick and suits started to savaged Legend (the recent Tom Hardy popularity, labels, artists and managers have Amazon’s brand”. :) the 7

ISSUE 377 28.10.15 TOOLS Pinboard » Deals Tweets

eMUSIC ABBEY ROAD #streaming Download service eMusic Abbey Road Studios has launched has been acquired by cloud Abbey Road Red, its music and @lucyeblair company TriPlay (which technology startup incubator. It will Just blaming owns MyMusicCloud and work with three new companies every streaming MyDigipack). The sale price six months, giving them access to its services is has not been made public but studio engineers as well as expert business advice. short-sighted, it is rumoured to have been Universal Music Group, which owns the studios, will inaccurate and $26m. take 1-2% equity in each company. downright damaging for the music industry as a whole. We must work together

7DIGITAL/ELECTRIC JUKEBOX RIAA/PANDORA @jherskowitz The RIAA has reached YouTube stars will drive subscriptions a $90m settlement to Red - which with Pandora for 7digital is licensing its platform in the UK and trojan horses the use of pre-1972 US to Electric Jukebox for its TV-based music music. Amazon recordings on the streaming music service. Electric Jukebox was set trojan horses it in Prime. Music service. This follows the RIAA securing a $210m up by Rob Lewis, former head of Omnifone, and is gift with purchase. settlement with SiriusXM over the same issue earlier in costs £179 for the plug-and-play hardware (plus the year. £60 a year renewal). @Popjustice How many different DEEZER OMNIFONE/LINE companies do you think the Omnifone is partnering average person with Japanese will want to chuck £9.99 at messaging service Line every bloody month? Three to expand its Line Music tops surely offering internationally Deezer had planned to IPO on the Euronext through the licensing of exchange and raise €343m but has postponed this “millions” of tracks. Line move at the last minute “due to market conditions”. It Follow Music Ally report has 211m active users. said it would focus instead on its “growth strategy”. on Twitter... twitter.com/musically the 8

ISSUE 377 » Stats 28.10.15 TOOLS Pinboard YOUTUBE 5% of videos account for 95% of views • All eight videos that have crossed 1bn views are music-related NEW SERVICE YOUTUBE RED 2,406,688,654 1,049,137,307 Psy: ‘Gangnam Style’ Katy Perry: ‘Roar’ 1,207,377,406 1,027,716,512 Justin Bieber: ‘Baby’ Enrique Iglesias: ‘Bailando’ 1,129,447,206 1,022,010,471 Taylor Swift: ‘Blank Space’ Taylor Swift: ‘Shake It Off’ 1,086,631,431 1,004,721,343 Katy Perry: ‘Dark Horse’ Meghan Trainor: ‘All About The Bass’

Source: RIAA/ Source: Apple (October 2015) US RECORDED MUSIC Statista APPLE MUSIC REVENUES BY FORMAT (October 2015) $1.32 6.5m $1.27 $1.03 H1 2014 $0.83 $0.91 $0.75 H1 2015 People paying for Apple Music after the end What is it? Values in $bn of their three-month free trial No, not RedTube. That is something very different. YouTube Red is effectively the full-launch version $0.13 $0.12 8.5m of what was beta tested under the YouTube Music Key name and symbolically marks the platform’s Downloading Streaming Physical Other Users (as of 19/10/15) still in the free trial period first play into subscription. Launching initially in the US and costing $9.99 a month for ad-free and offline plays, it is not going in half-cocked US SOCIAL MEDIA USERS (13+) AND MUSIC Source: MusicWatch (October 2015) as it has commissioned a huge sweep of original Reasons to follow musicians on social media programming from heavyweights like PewDiePie. • Get information about • See photos/clips/news from Music is still a big part of it, with subscriptions also 73% new music from artist 57% giving access to the audio-only Google Play Music concerts/festivals as they happen service. (There is also a standalone YouTube Music 63% • Hear direct from artist • Hear direct from artist app for free users and Red subscribers.) This, given about music 49% about their personal life the fact that YouTube is easily the biggest music • See pictures of the artist • Read news/gossip about artist service out there, is a watershed moment. Whether 59% 42%

report or not it can persuade even a fraction of its 1bn+ • Find concert information • Interact with other fans monthly users to pay after a decade of using the 58% 32% platform for free is a whole other matter entirely. the 9

ISSUE 377 28.10.15 MARKET PROFILE The Philippines

however, are set to benefit. Revenue from single-track downloads increased from PHILIPPINES $0.68m in 2013 to $1.25m last year, turning around several years of decline. “For many local labels, only recently STATS has the majority of their local catalogue f been digitally available for download,” Population 100m Handlin says. “In addition, local labels are now embracing digital as a key revenue

d source and are marketing their digital/ GDP per capita $7,000 downloadable assets accordingly.” h The decision by local labels to make their content available on streaming Internet users 39.9m services also had a significant impact c on ad-supported streaming in the Broadband households 1.8m Philippines last year, with revenue climbing from $0.78m in 2013 to $1.84m in 2014.

i A significant push from local telcos Mobile subscriptions 111.3m also contributed, with Globe Telecom Active smartphones 29.2m teaming up with Spotify and Smart Communications doing a deal with Deezer. Active tablets 2.6m In addition, Rdio, Tidal and Guvera all Sources: IFPI/CIA World Factbook operate in the Philippines as standalone services, while there are important local digital music services in Smart/Spinnr, With some 7,107 islands to its name and 19 different recognised Philippines to as much as 50% this year. OPM2Go and Amplify.ph (below). regional languages, the Philippines is clearly not your average country “There is an influx of cheaper smartphones that could accelerate the he same might be said of its digital which offer basic internet and multimedia replacement of legacy phones,” Handlin music business. As recently as capabilities. “According to local telcos, explains. “Local telcos are also shifting to 2012, mobile personalisation made approximately 55% of the market still uses increase their data packages to enhance up half of all digital music revenue legacy or feature phones,” he says. the smartphone user experience.” inT the Philippines; even last year, revenue Indeed, a recent study by On Device The knock-on effects for digital music from personalisation outstripped that of Research found that smartphone consumption are likely to be profound. On ad-supported streaming. penetration in the Philippines in 2014 the one hand, Handlin says that telcos This, according to Denis Handlin, was just 15%, the lowest of any country expect to see “a decrease in ringback tones chairman and CEO (Australia & New in South-East Asia. And yet, inevitably, and other personalisation revenue streams

report Zealand) and president (Asia) at Sony things are changing, with a wave of of approximately 5% by the end of the year Music Entertainment, is a result of the low-priced Android devices expected as smartphones usage grows”. continuing popularity of feature phones, to grow smartphone penetration in the Streaming (and even downloads), the ISSUE 358

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ISSUE 377 28.10.15 MARKET PROFILE The Philippines continued...

0.3 0.70 0.3 Other 1.84 Other 0.60 0.2 Ad-supported 0.2 physical streams 16.3 0.78 0.1 CD Subscription streams 2.1 2.0 2.83 2.36 1.94 Mobile personalisation 1.6 3.81 3.26 1.5 Full album downloads 1.2 Single track downloads32.0 1.13 1.25 0.54 0.57 0.67

2010 2011 2012 2013 2014 2010 2011 2012 2013 2014

Philippines: recorded music sales volume (millions of units) Source: IFPI Philippines: digital sales by format (US$ millions, trade value) Source: IFPI

Subscription streaming income, digital music industry in the Philippines. highest in the Asia-Pacific region. What’s however, remains very low, totalling just Overall, though, there is positivity about more, an incredible 94% of internet users in $0.18m in 2014, up from $0.004m in 2013. the market. Income from recorded music the Philippines use Facebook compared to There are several reasons for this, the main increased last year for the first time since 54% in the US. one being that disposable income is low, 2009, up 1.3% to $12.8m. These youthful, affluent audiences with almost 20% of the population living on This was driven by a sharp increase in are precisely the kind that the music less than $1.25 a day and a GDP per capita digital revenues, from $4.8m in 2013 to industry likes to target. This, combined of $7,000. $6.3m in 2014, which was enough to offset with the forthcoming boom in Understandably, there is a reluctance falling physical sales. smartphone penetration, makes the to pay for something when it can be Admittedly, $12.8m in revenue from a Philippines a promising digital music market obtained for “free” Handlin says, even country of 100m people is still very low; but for the future. though subscription rates in the Philippines there is considerable evidence that mobile Handlin expects the market to continue are some of the lowest in the world. internet users there are, as On Device to grow. “The digital market year to date is Spotify, for example, charges 129 Philippine Research puts it, “young, affluent and experiencing strong growth and we expect pesos a month (just $2.81). Perhaps For many local labels, only growing fast”. this to continue on for the balance of the inevitably, then, YouTube is one of the recently has the majority of their On Device found that 88% of the year,” he says. “This growth is being driven by the international platforms and the most important platforms for digital music local catalogue been digitally total mobile internet population in the

report in the country. Philippines is 34 or younger, for example, growing domestic digitised catalogues, Converting free users to paid subscribers available for download” while 42% of total screen time in the coupled with growing smartphone is clearly going to be a challenge for the Denis Handlin, Sony Music Ent. Philippines is spent on social media, the penetration.” :) the 11 Music Ally is a music business information and strategy company. We focus on the change taking place in the Music Ally is an ISSUE 377 industry and provide information and insight into every aspect of the business, consumer research analysing 28.10.15 example of perceptive the changing behaviour and trends in the industry, consultancy services to companies ranging from blue journalism at its chip retailers and telecoms companies to start-ups; and training around methods to digitally market your best, with unrivalled artists and maximise the effectiveness of digital campaigns. We also work with a number of high profile music Andrew Fisher, events around the world, from Bogota to Berlin and Brighton, bringing the industry together to have a good CEO, Shazam coverage of the commonsense debate and get some consensus on how to move forward. Entertainment digital music sector”

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