ISSUE 361 | 04 MARCH 2015

Contents thereport 06 Beyond music: Cybersecurity 07 Pinboard: Stats, deals, startups and more 09 Country profile: Portugal

Long player How the is coping with the streaming age 2

ISSUE 361 04.03.15 COVER FEATURE

rom the start of this month, the UK is following the lead of Sweden (in 2013) and the US (last year) by adding streaming into the Fchart. The is looking to shore up the relevance of the albums chart in the streaming age but, in doing so, had to considerably rework its tabulation methodology for how it combines streaming data with download and physical sales. Firstly it selects the top 12 tracks from an album, basing that on the common number of tracks from the CD era, and then works out the average streams across them all. Most significantly, and to prevent albums with just one massive song and a lot of cobwebbed filler from over- indexing, it is down-weighting the two Long biggest songs on an album to get a more balanced overview of the performance of the album as a whole. At the heart of this is much talk about genuflecting before the How the album is coping album as an artistic statement as much as in the streaming age protecting it as a commercial format. player Album listening, the logic goes, is moving to streaming and the charts The arrival of iTunes in 2003 saw songs being uncoupled from albums, liberating consumers to buy a track or have a duty to reflect this and, in doing two rather than the full album. The rise of streaming, however, was supposed to help a return to album listening so, maintain both their relevance (as a as consumers could theoretically listen to everything for a set fee each month. We have picked 10 very different measurement of popularity and success)

report and the relevance of the album as a body albums to investigate just how listening trends apply across all the songs on each. The results are surprising of work. Noble intentions, sure. But just and puncture some commonly accepted myths about streaming in general and the album in particular. how much are full albums being streamed? the 3

ISSUE 361 04.03.15 COVER FEATURE

Do consumers, now no longer required MARK RONSON off the album and when marketing kicks in – ‘Thinking Out Loud’ had 226m plays and to pay up front for a CD and feel they UPTOWN SPECIAL around the subsequent singles, this could ‘I See Fire’ had 206m plays – is not totally have to play everything to wring the most start to chip away at the 91% share overwhelmed by them. value out of their purchase, still listen to ‘’ has of the overall album everything in the order the artist presents plays. it to them? Or does streaming mean they are instantly able to sort the wheat from the chaff? X Andreas Ahlenius, commercial director at Universal Music Sweden, told music:) ally last year, “Everything has changed. It is not what people buy that matters – it’s what people listen to. When it comes to what audience to reach, we used to target • Uptown’s First Finale • Summer Breaking people with money but what is now more • Feel Right • Uptown Funk • I Can’t Lose important is to target people with time. It • Daffodils • Crack In The Pearl • In Case Of Fire • Leaving Los Feliz • Heavy & Rolling • Crack In The Pearl Part II is their time we are after, not their money.” TOTAL STREAMS: 169,381985 What he meant was that marketing in Sweden was no longer about driving huge Rush-released at the start • • Good Thing • Stay With Me sales in the opening weeks of an album’s of the year, lead single • Leave Your Lover • I’m Not The Only One • I’ve Told Now • • Life Support • Not In That Way • Lay Me Down release but rather about finding ways to ‘Uptown Funk’ was being • One • I’m A Mess • Sing • Don’t • Nina • Photograph • Restart • Latch - acoustic • La La La • Make It To Me get listeners to keep going back to albums talked about as a smash • Bloodstream • Tenerife Sea • Runaway • The Man TOTAL STREAMS: 882,195,347 • Thinking Out Loud • Afire Love • Take It Back to play them again and again over a period even before it went to radio • Shirtsleeves • Even My Dad Does Sometimes • I See Fire of months and years. in November 2014. There is, however, a TOTAL STREAMS: 1,073,726,218 The second biggest album With all these changes in mind, we have huge disparity between the single and the of 2014 in the UK and the picked 10 albums that represent different rest of the album, which spells out some The UK’s biggest selling only artist album to sell 1m+ iterations of the album as a body of work of the issues facing pop albums on album of 2014, X is an copies in both the UK and across different genres and eras and then streaming services – or pop albums with a interesting example of four the US, most of the album’s analysed just how the plays spread out massive lead-in single. Historically singles songs – ‘Sing’, ‘I See Fire’, sales have been on CD (just over 1m of its across the album as a whole. have been the key medium for pop but ‘Thinking Out Loud’ and 1.46m UK sales are physical). But, as with often they have caused a slipstream effect ‘Don’t’ – doing most of the heavy lifting, Ed Sheeran, while four tracks – ‘Stay With Note on methodology: we have used whereby a huge single can drag with it accounting for around 742m of the album’s Me’, ‘Money On My Mind’, ‘I’m Not The Spotify data for global plays because it significant sales of the accompanying 1.07bn streams (so around 75% of plays). Only One’ and ‘La La La’ – dominate the is the only audio streaming service that album. This is something that might start That said, the other tracks on the album album (making up 73.5% of total plays), the is fully open with its play data. We can to unravel a little as the streaming world are not so disproportionately pushed out other songs do appear to be getting a presume that similar listening dynamics lets consumers vote with their ears and of the equation. The hits are, of course, by decent crack of the whip with listeners. are identifiable on Rhapsody, Deezer, their time. In the sales world, ‘Uptown far the most played, but the listening data Against the trends identifiable on the Mark Rdio and others. All streaming data was Funk’ has sold 1.3m copies in the UK but suggests the album is appealing enough Ronson album, Sam Smith and Ed Sheeran

report collated on the same day, 23rd February, the parent album has so far only managed that consumers will dig deeper into it and suggest an album needs the gravitational using Spotify’s publicly available global 66k copies, showing a similar dynamic at give the other songs considerable plays. pull of familiarity that three or four big hits streaming figures. play here. It is, of course, the first single An album that, despite having huge hits can bring in order to draw listeners in and the 4

ISSUE 361 Thereafter, however, plays are reasonably THE WAR ON DRUGS 04.03.15 COVER FEATURE well spread across the rest of the songs LOST IN THE DREAM 21 on the album. So the great enduring myth properly explore what else is on there. Of of indie albums is perhaps only 50% right. course, having four songs on an album that are capable of being big hits is YOUNG FATHERS another matter entirely. DEAD BELLE & SEBASTIAN GIRLS IN PEACETIME WANT TO DANCE

• Under The Pressure • Red Eyes • Suffering • Rolling In The Deep • Rumour Has It • Turning Tables • An Ocean In Between The Waves • Disappearing • Don’t You Remember • Set Fire To The Rain • Eyes To The Wind • The Haunting Idle • Burning • He Won’t Go • Take It All • I’ll Be Waiting • Lost In The Dream • • One & Only • Lovesong • Someone Like You TOTAL STREAMS: 41,672,266 TOTAL STREAMS: 409,676,479

Alongside St Vincent by St An album that was initially • No Way • Low • Just Another Bullet • War Vincent, this was arguably held off Spotify and • Get Up • Dip • Paying • Mmmh Mmmh the biggest critical success proclaimed, given its • Hangman • Am I Not Your Boy • I’ve Arrived last year, coming first in staggering 30m+ sales, as TOTAL STREAMS: 2,918,866 many end of year polls. This the saviour of the album at • Nobody’s Empire • Allie • The Party Line is where albums can do the most business a time when many had presumed the • The Power Of Three • The Cat With The Cream • Enter Sylvia Plath • The Everlasting Muse • Perfect Couples • Ever Had A Little Faith? Picked because it was as people read about them and want to album was dead. Its performance on • Play For Today • The Book Of You • Today (This Army’s For Peace) the winner of the investigate if the critical consensus Spotify is, against that particular TOTAL STREAMS: 8,493,484 2014 Mercury Music around them is correct or misguided. contextual backdrop, a fascinating one. Prize, an award ceremony Single ‘Red Eyes’ is by far the biggest Really, it appears to be about three songs There is a highly that deifies the album track on the album, accounting for almost – ‘Rolling In The Deep, ‘Someone Like You’ romanticised argument that as an artistic statement. exactly a third of the album’s 41.6m and ‘Set Fire To The Rain’ – that were the major label acts are all One song, ‘Get Up’, accounts for just streams but thereafter listening is pretty three lead singles from the album. about big singles whereas under 30% of the album’s 2.9m streams evenly spread across the remaining tracks. Collectively they account for 70% of the indie acts create delicately and two others, ‘No Way’ and ‘Low’, This is perhaps a model for acts to aim for album’s 409m streams. Given this, it is sculptured works of art that have to be slightly punch above their weight, but the in the future (or, more tellingly, resign going to be interesting to see if listened to in toto. Taking one of the rest of the songs get roughly the same themselves to), where one song acts Adele keeps the follow up to 21, biggest UK independent albums of 2015 so number of plays. as the entry point for many. due later this year (possibly), off far made by a band that has been going Given that ‘Get Up’ was the only single Perhaps it works as enough for streaming services for a set for two decades and built up a feverishly from the album, that would explain its some listeners who, on hearing it, period, especially considering loyal fanbase, it’s not quite as clear-cut as dominance here and was most likely the don’t feel the need to investigate that this album wasn’t a all that. first port of call (where they went straight further; but, for those who do like consistent performer across all One song, ‘The Party Line’, makes up to the top played tracks on the group’s it and want to dig deeper, it means the tracks when made available to

report just over 50% of its 8.4m streams, while Spotify profile page) for consumers who they give the rest of the album stream. ‘Nobody’s Empire’, the opening song on had never heard of Young Fathers until relatively equal attention. the album, has just shy of 1m streams. their Mercury win. the 5 ROYAL BLOOD ISSUE 361 LED ZEPPELIN LED ZEPPELIN 04.03.15 COVER FEATURE IV IV, contd. ROYAL BLOOD CHARLI XCX SUCKER

with without bonus bonus tracks tracks

• Black Dog • Rock n Roll • Battle Of Evermore • Out Of The Black • Come On Over • Figure It Out • Black Dog • Rock n Roll • Battle Of Evermore • Stairway To Heaven • Stairway To Heaven • Misty Mountain Hop • Four Sticks • Going To California • You Can Be So Cruel • Blood Hands • Misty Mountain Hop • Four Sticks • Little Monster • Loose Change • Careless • When The Levee Breaks • Black Dog (basic) • Rock n Roll (alt) • Going To California • Ten Tonne Skeleton • Better Strangers • Battle Of Evermore (mandolin/guitar) • Stairway To Heaven (mix) • When The Levee Breaks TOTAL STREAMS: 38,370,263 • Sucker • Break The Rules • London Queen • Breaking Up • Misty Mountain Hop (mix) • Four Sticks (alt) TOTAL STREAMS: 43,838,981 • Gold Chain • • Doing It • Body Of My Own • Going To California (mandolin/guitar) • When The Levee Breaks (alt) • Famous • Hanging Around • So Over You • Die Tonight TOTAL STREAMS: 45,301,991 • Caught In The Middle • Need Ur Love • Red Balloon Of all the albums we chose TOTAL STREAMS: 144,103,234 to analyse, this is the one slightly to 43.8m plays, suggesting that most evenly split across Not quite to the extremes extra tracks, even those that have not plays. With a total of 38.3m of Mark Ronson, this is still been heard outside of the studio since streams across all 10 tracks, they were recorded over 40 years ago, are another example of the the single biggest performer was ‘Figure It only of cursory interest to super-fans. Huge Hit Single Syndrome. In the old days of CDs, “bonus tracks” Out’ with 7.1m streams – which is equal to Admittedly, the album had An incontestable classic album by one of were a fantastic way to get fans to pay 18.5% of the total plays. If it were exactly only been out one week by the time we the biggest acts of all time and also one more in advance for a reissued album; even, each track would get 10% of the plays, looked at the data so ‘Boom Clap’, one of that, until last week, Spotify had the but the reality appears to be that, when meaning 18.5% is not that jarring, especially the biggest pop hits of last year, was streaming exclusive on. This album is offered up to consumers on streaming considering just how much the Mark guaranteed to dominate as it was re- included for two reasons: firstly, being services, they do not seem very fussed Ronson and Charli XCX albums skew so leased months ahead of the album and one of the biggest albums of what is about blowing the dust off them. heavily towards just one song. Plus it is on a so had half a year to gather its 109m taken as the golden era of the format; and major label which somewhat punctures that plays. There was only a gap of two secondly, an album that came with a Royal Blood idea that only indies put out albums full of months between Ronson’s ‘Uptown Funk’ whole host of previously unreleased tracks that people want to listen to equally coming out as a single and the associated material when re-issued last year. as a creative statement. :) album being released so it was not going Inevitably, ‘Stairway To Heaven’ hogs the to gather the same head of steam in that majority of the streams here and period as ‘Boom Clap’ did (which explains thereafter listening across the tracks on why it dominates the album as consumers the original album is roughly even. The only had a matter of days to explore most interesting point here is, however, beyond the big hit). This is definitely related to the bonus tracks. The deluxe

report one to revisit six months down the line album had 45.3m streams across all the to see how or if the spread of track songs, but when the bonus tracks are plays changes. stripped out the total plays only dip the 6

ISSUE 361 “Sony had all kinds of things: 04.03.15 BEYOND MUSIC intrusion detection, firewalls, antivirus […] But they got hacked anyway. The security measures Should the music industry think that enterprises do frequently get breached. A lot of this stuff could have been encrypted” more about corporate privacy? Phil Zimmermann, Silent Circle

Cybersecurity threats are rising “Sony had all kinds of things: intrusion – is encryption the answer? detection, firewalls, antivirus […] But they got hacked anyway. The security he Sony Pictures hack late last measures that enterprises do frequently year was embarrassing for that get breached,” said Silent Circle’s Phil company, but it should act as a Zimmermann in a recent interview. “A lot of wider wake-up call to businesses of this stuff could have been encrypted.” allT sizes and types. And not just in terms of A company that sells encryption their senior executives watching what they software recommending other companies write in emails. spend money on that instead of firewalls In 2015, there are more cybersecurity and antivirus tools? Not a huge surprise, threats than ever to prominent companies but Zimmermann’s wider points about and the firms that they deal with – whether privacy are worth taking on board for music from dedicated cybercriminals or simply companies. hackers with a point to prove. “People don’t think of privacy much It’s the latter that should perhaps worry when they think about enterprises, but music industry firms most: a few years enterprise privacy is a real thing: it’s the ago, sticking it to The Music Man would collective privacy of everybody in the usually involve trying to take a major label company, and the privacy of the company or industry body’s website offline with a assets as well,” he said. Distributed Denial of Service (DDoS) attack. “In Sony’s case, there were emails Now, there’s a very real prospect of about Hollywood actresses that got tactics shifting to try to worm into their breached. That’s connected with personal internal systems and root around for privacy. I think companies retain too much embarrassing emails and documents to information.” leak. Imagine the ramifications if a Sony Numerous companies who make their Circle, which makes encrypted One of the rules of cybersecurity Pictures-scale hack happened to, say, money selling cybersecurity consultancy communications software and the is you don’t talk too much about your ? and/or technology are more than willing to Blackphone smartphone. cybersecurity measures – major labels The kneejerk answer to this threat is talk up the risks, unsurprisingly. Its pitch is that companies should included. But don’t be surprised, with to splash out on cybersecurity, putting in There’s another theory, albeit focus, not on corporate security, but those Hollywood actresses in mind, to see

report place more defences against hackers and one being put forward by a company on “enterprise privacy” – and that, by more artists (or, at least, their managers) stricter rules on what staff – senior executives that also makes its money from businesses respecting the privacy of their staff, they’ll asking questions about how large music included – can and can’t do. Lockdown mode. spending money on security – Silent become more secure. companies are protecting their privacy. :) the 7

ISSUE 361 04.03.15 TOOLS Pinboard » Deals Tweets

KOBALT VESSEL #MusicAlly Kobalt has raised $60m in New freemium video a new funding round led by service Vessel has @MickPuck Google Ventures. Kobalt, signed a deal with I have gobbed which had previously raised Universal Music Group on this building. $68m in funding, says it will to gain exclusive early #punkwars use the investment to fuel its access to some of the tmblr.co/ global expansion, notably in label’s music videos. ZU4YOy1ev3m_3 Asia and Latin America. @amandapalmer For $50,000 SPOTIFY/MUSIXMATCH BEATPORT amanda palmer Spotify, through a deal with will scream Beatport has launched an your name out Musixmatch, is offering its invite-only beta test for its while having sex users synchronised lyrics free streaming service. The with sandman creator neil when they play music on the dance-centric download gaiman service’s desktop app. This store has been looking to follows Deezer securing a expand its offering and this @jherskowitz similar deal with Musixmatch new streaming side will link at the end of 2014. through to Beatport Pro for downloads. Watching a lot of new musictech GOOGLE SOUNDCLOUD startups is like watching Google has acquired SoundCloud has reported someone play Pitfall that the gTLD (generic top it has paid over $1m in hasn’t yet learned they level domain) name .app ad revenue to copyright must jump on the crocs’ after bidding just over owners and artists eyes. $25m to secure it from since August 2014 Icann, which handles the when it launched its On auctioning of customised SoundCloud initiative to Follow Music Ally report web names. wrap ads around tracks. on ... twitter.com/musically the 8 » Stats ISSUE 361 TOOLS 04.03.15 Pinboard YOUTUBE: REVENUE (US$) YOUTUBE 2014: 1bn global viewers Source: Wall Street Journal, Feb. 2015 9% 4bn Super viewers NEW SERVICE CHEW.tv 3bn 91% 85% Other viewers 15% 2013 2014 Viewers Total views JAPAN RECORDED MUSIC SALES RECORDED MUSIC SALES MUSIC 353.9 341.6 (trade value, DKK millions) SALES (trade value, ¥bn) 41.6 43.7 2013 2014 Physical 312.3 429.3 297.9 Total Digital What is it? 437.0 (+1.8%) Streaming DJ sets is hardly a new idea – from 170.0 2013 2014 Mixcloud for audio-only sets to The Boiler Room and Streaming numerous other video livestreams of steel-wheel 255.9 (+50.5%) RECORDED MUSIC wizardry. 108.4 DIGITAL SALES Downloads British startup Chew.tv is hoping to make an impact, 69.3 (–36.1%) 2.7 armed with a canny pitch of being “Twitch.tv for 7.9 DJs”; games livestreaming service Twitch was bought 142.2 CD Other by for $1bn last year, so this is catnip to 15.4 8.1 104.2 (–26.7%) investors. Streaming 6.0 Mobile Anyway, Chew streams videos of DJs mixing and Vinyl 26.4 archives them for on-demand viewing. “Mixcloud with 7.6 (+27.9%) Downloads 22.3 video” might be a more apt tagline; Chew is using a Source: IFPI Denmark, Feb. 2015 Source: RIAJ,

report similar blanket licence to cover its rights and wants DKK1 = US£0.15 Feb. 2015 to make money from a mixture of branding deals and ¥1,000 = US£8.36 pro-user accounts. 2013 2014 the 9

ISSUE 361 04.03.15 MARKET PROFILE Portugal

In terms of digital revenue, the country ranked 36 in the world in 2013 (the last year PORTUGAL the IFPI’s current figures cover). Digital revenue may have grown slightly in 2013, up $0.2m year-on-year to $6.9m, but single- STATS track sales fell from 1.1m units in 2012 to f 0.6m in 2013 while sales of digital albums Population 10.8m were flat at 0.1m. And yet, much like its Iberian cousin

d Spain, the digital music industry in Portugal GDP per capita US$22,900 is seeing tiny glimmers of hope in 2015. h It’s not just that the country’s economy has returned to growth after years of Internet users 7.3m decline, expanding 0.9% in 2014 (admittedly c against a backdrop of continuing high Broadband households 2.3m unemployment). But the country’s digital music market

j is also on the up, according to José María Mobile subscriptions 17.2m Barbat, president of Sony Music Iberia, who i says that digital grew 32% year-on-year in 2014. “The main drivers were penetration Smartphone users 6.5m of YouTube and the growth of streaming Sources: IFPI, CIA World Factbook income, despite the decrease of the à la carte business,” he explains. What’s more, the Portuguese Parliament Recorded music revenues have been struggling for years in Portugal he headline figures for Portugal’s last month gave a potential boost to the but the return to growth by the national economy is having a recorded music industry have country’s digital music industry by revising not made for happy reading of the country’s Copyright Act to remove pronounced impact on the market. Digital revenues grew 32% last year late. When music:)ally profiled the the imposition of mandatory collective countryT in August 2012, it had experienced management of performers’ exclusive rights. and changes to copyright legislation and licensing in the country a 55.5% fall in recorded music sales over the “The difference is to have or not have should soon start to reap rewards. YouTube was the key driver in the previous five years and the most recently the conditions to develop digital business country’s digital uptick but it is having an enviably diverse streaming published IFPI figures suggest that decline in the musical field,” Barbat explains. “This market that, now the pieces are falling into place, should start to has continued. change in Portuguese law is very important In 2012, revenue from recorded music for artists, as artists are now empowered to deliver results in the coming years. in Portugal fell 13.4% according to IFPI; decide over the use of their recordings in in 2013, it dropped a further 6.6% to just the digital market.”

report $28.5m, leaving Portugal as the 34th largest Barbat explains that the licensing music market globally, behind such giants environment in Portugal is now consistent as New Zealand, Malaysia and Hong Kong. with that of most territories globally, the ISSUE 358

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ISSUE 361 04.03.15 MARKET PROFILE Portugal continued...

This change in Performance Performance Other Single tracks Portuguese law is rights rights physical (digital) 0.6m very important for 17% $4.9m 0.4m artists, as artists are Digital now empowered to albums Source: Source: Source: decide over the use of IFPI, 2014 IFPI, 2014 IFPI, 2014 0.1m their recordings in the digital market” Digital Digital 24% Physical $6.9m Physical José María Barbat, 59% $16.6m CD Sony Music Iberia 2.9m

Recorded music sales Recorded music sales by sector, 2013 Recorded music revenues, 2013 volume (units), 2013

meaning there is no longer a barrier claimed that Portugal had a smartphone its solo launch”. He adds, “The marketing first time in years when its official 2014 for global digital services to launch in penetration rate of 32.1% in 2013 in its Our investment Vodafone is doing right now will figures are announced. Portugal. And yet the country is already Mobile Planet report, above countries such hopefully bring a fast and higher growth to That may sound like wishful thinking; comparatively well served for digital music, as Thailand, Argentina and Turkey, but the service.” Spain and Portugal may be neighbours, but with big global names like iTunes, Deezer, below the likes of South Korea, Norway Other factors that could help to grow aren’t as similar as many outsiders seem YouTube Music Key, Spotify and Rdio joining and the UK. (It is worth nothing that other the digital music business in Portugal to believe. On the other hand, many of the local services such as MEO. reports put the Portuguese figure at closer include working with brands and increased factors said to have contributed to Spain’s Of the international giants, several are to 40%.) The Google report also revealed customisation, according to the Sony Music 21.2% leap in recorded music revenue last relatively recent additions: Spotify opened that in 2013 83.3% of smartphone users in Iberia president. year do also apply to Portugal, including the in Portugal in February 2013; Google Play Portugal accessed internet via their mobile “Even though the major players in the growth of streaming and a decline in piracy. Music All Access launched six months later; every day. digital music industry are present in Portugal, Portugal may not be in line for an instant and YouTube Music Key arrived in Portugal As such the bundling deal between they are normally handled on a centralised recovery following years of decline, but in November 2014. The YouTube service is, Vodafone and Spotify, which launched in basis, together with other territories or with there is cautious optimism in the country’s for the moment, invite-only. But the fact January offering the telco’s Portuguese shared resources,” he says. (Deezer, for music industry that the worst could just be that Portugal is one of seven initial launch customers Spotify Premium plus mobile example, has an editor in Portugal but no behind it. :) countries (alongside the US, the UK, Spain, data packages, could prove crucial. office.) “This is a limitation to customising Italy, Ireland and Finland) suggests that Barbat says that Spotify’s awareness and localising the offer to the [Spotify] has maintained Google sees Portugal as being a country and penetration are increasing all the Portuguese customers.” a solid growth line every with potential. time and this will only grow with the The hope, then, for the month since its solo launch” report This may be due to the fact that the Vodafone deal. Spotify, he explains, is not Portuguese music industry is country is said to have a relatively tech- an “extreme success” but it has maintained that it can follow Spain in overall savvy, mobile-friendly population: Google “a solid growth line every month since growth in recorded music revenue for the

the José María Barbat, Sony Music Iberia 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 361 industry and provide information and insight into every aspect of the business, consumer research analysing 04.03.15 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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