We’re amassing an in-depth archive of freely available music business reports, saving you the trawl of countless websites, with links taking you to their origin.
We welcome recommendations. Submit a report or paper for inclusion here.
We’re amassing an in-depth archive of freely available music business reports, saving you the trawl of countless websites, with links taking you to their origin.
We welcome recommendations. Submit a report or paper for inclusion here.
To achieve greater transparency in the digital music market, managers need to be clearer about what specific data and information is required for artists to fully understand and capitalise on the potential of the rapidly expanding streaming sector. This Transparency Guide seeks to do just that, identifying twenty pieces of data and information, and explaining how they fit into the development and growth of each artist’s business.
A short guide to assessing and explaining ten key label and distribution deals types that are available in the streaming age, this is an essential read for artist managers who will be better able to advise their artists on what deals best suit their objectives.
This report takes a look at how grime has grown as a commercial force, both in terms of sales and streaming, and also evaluates its broader influence. It is not a comprehensive overview of its impact across the board, rather an attempt to place how it is faring in relation to the overall UK recorded music market.
This paper outlines some of the most groundbreaking, important and otherwise interesting music and tech partnerships observed by digital music analysts MusicAlly throughout 2016 to the early months of 2017.
Nielsen Music Mid-Year Report provides definitive figures and charts for the music industry from the first six months of 2017. It’s been an action-packed start to the year, with records broken, chart history made and several categories growing quickly. Drake shattered streaming records, and a significant streaming milestone was also reached in March, when weekly on-demand audio streaming surpassed seven billion.
The last few years have brought a surge of music initiatives from brands worldwide, and it seems like brands are in love with music. The Sounds Like Branding report is a study conducted by Heartbeats International, asking top brand managers to share their thoughts and insights on this newfound love affair.
This 2017 Infinite Dial Study by Edison Research and Triton Digital unveils the latest American consumer behaviour research around digital audio, social media, mobile, smart speakers, and podcast consumption.
To maintain growth and withstand the challenges that may be presented to the music industry over the next five years the Government needs to put creative industries at the heart of Brexit negotiations and devise an industrial strategy to safeguard sectors like music and allow them to develop further. To do this, UK Music has prepared this manifesto which establishes a five-point plan as the basis for securing the right framework in the coming years.
RBB Economics has undertaken several empirical analyses to evaluate YouTube’s potential promotional or cannibalisation effects on the music industry in Europe. It analysed the results from a 1,500 person user survey, as well as data on YouTube views and streams on audio platforms of approximately 5,000 tracks in each of four European countries over a three year period.
This guide was written Claire Turnham, herself ripped off by a secondary ticketing platform, who was motivated to not only rigorously pursue for a refund, but to then offer help to others. This short guide details the steps and prcesses necessary to purse these platforms for a refund.
Worldwide Independent Network's (WIN) Global Chart Report 2016 is a survey that sets out information on how the music charts work in all key markets around the world.
How can you get smarter about how you use technology to produce and promote live shows? This Eventbrite research interviewed 20 music and technology leaders who are on the cutting edge of concert technology, and surveyed nearly 50 live music venues about their top challenges, and how they’re using technology to solve them.
An in-depth review of the international electonic music industry today, and a look back over the past decade in electronic dance music, by Kevin Watson.
This FanFair Alliance report considers consumers' attitudes to the secondary ticketing market, which is estimated to be worth £1bn, annually. If there were any doubts whether consumers are aware of the problems around secondary ticketing and the impact this is having on the wider music industry then these are very much dispelled by this survey's results.
This report assesses the impact of the genre on the mainstream, revealing that it’s now an established part of British culture with a direct affect on the political establishment, and offers an in-depth look into how grime has become part of the social fabric of Britain, with sales growing faster than the total UK music market.
Examines how the music rights industry has evolved a new licensing model for the streaming platforms, and the copyright laws, industry conventions and legacy agreements that have influenced this process. Part 2 highlights Artist managers calling for more transparency around the music industry’s streaming deals...
A guide to help managers minimise the scalping and resale of their artists' tickets on profiteering websites such as GET ME IN!, Seatwave, Stubhub and Viagogo.
An annual economic study that reveals the true scale of the UK music’s vast contribution to the UK economy. 2015 proved to be another buoyant year for music with increased export growth across the sector contributing to a £4.1bn overall contribution to the UK’s economy.
This report analyses consumer trends related to the consumption and discovery of live and recorded music in Australia and provides a number of key takeaways for those in the music industry.
The US Department of Justice will enforce “100% licensing” under its consent decrees. According to their August 2016 statement.
Can you make money from festivals, or do overwhelming logistical demands – plus the British weather – mean most festivals will cease festivities?
An economic study that reveals the vast contribution of live music and music tourism to the UK economy during 2015. The report features both national and regional figures and for the first time reveals the huge impact of music tourism to twelve UK cities: Norwich, Leicester, Newcastle, Manchester, Belfast, Glasgow, Brighton, Exeter, Cardiff, Coventry, Hull and London.
This report includes statistics and insight on all elements of the Electronic Music industry, including music sales, DJ earnings and social media fanbases, Clubs, Festivals, and companies & brands. Also includes results of the IMS Survey, and an updated estimate of the value of the global Electronic Music industry.
In this report the Observatory focuses on the infringement of IP rights in the recorded music sector.
Research reveals the extent of the problems surrounding diversity and equality in regard to gender and ethnicity within the realms of composition commissions and classical music education.
This manifesto lays down some simple messages for the development of vibrant, sustainable night time economies.
Since 2000, the record industry has (almost) got used to having its nose bloodied each time the IFPI annual figures roll round. Decline, doom, gloom. The odd year of minuscule growth was never a trigger for brazen optimism, but last year something incredible happened – the market grew by 3.2%.
The Global Music Report 2016 outlines the state of the recorded music market worldwide and highlights innovation and investment within the industry as it advances into the digital era.
The MMF have put together a handy guide to understanding your streaming royalty statement. It highlights an ongoing need for increased transparency when it comes to showing artists and managers exactly what happens to streaming revenue from the initial payout of any given platform to an act’s final pay packet.
Buckinghamshire New University publishes new research that reveals the vast economic, cultural and social impact of live music to the city of Bristol in 2015...
Despite being released just six weeks before the end of 2015, Adele’s 25 was the story of the year in the music industry. Album sales totaled 3.377 million in week one and the release set an all-time record for highest album share of total industry albums, as it accounted for more than 41% of the total album sales that week. And those were just two of the milestones...
The Taskforce has proposed a rescue package for music venues that address these problems. This follows extensive consultation with government, local authorities and the music industry.
This MMF report is the result of 9 months of in-depth qualitative research with 30 digital music experts and 50 artist managers in five markets including the UK, who between them work with acts signed to all three major music companies and over 100 independent record labels.
This is Ofcom’s twelfth annual Communications Market report. The large report covers television, radio, audio-visual, the internet and online markets in great depth with music related data featuring through the report.
Infographics Report - The fifth study into the extent of online copyright infringement, digital behaviours and attitudes among people 12+ in the UK. The IPO have commissioned and managed the 5th wave of the tracking study with Kantar Media. It covers the behaviour and attitudes towards both lawful and unlawful online use of copyright material. This continues work originally commissioned by Ofcom and sponsored by IPO in 2012. Data sets and an infographics report are also available to download.
The fifth study into the extent of online copyright infringement, digital behaviours and attitudes among people 12+ in the UK. The IPO have commissioned and managed the 5th wave of the tracking study with Kantar Media. It covers the behaviour and attitudes towards both lawful and unlawful online use of copyright material. This continues work originally commissioned by Ofcom and sponsored by IPO in 2012. Data sets and an infographics report are also available to download.
UK Music publishes Wish You Were Here 2015 – An economic study that reveals the vast contribution of music tourism to the UK economy...
UK Music has published Measuring Music 2015 – an annual economic study that reveals the true scale of the UK music’s vast contribution to the UK economy. 2014 proved to be a buoyant year for music with increased growth across the sector contributing to a staggering £4.1bn overall contribution to the UK’s economy...
The BPI created an infographic to represent a music industry timeline from 1990 - 2015.
The technology tracker survey examines trends in internet usage, tech ownership and the connected home, covering topics such as social networking and video gaming along the way.
A report published by Music Canada and IFPI, in partnership with Midem, looks at how a vibrant music economy can generate a wide array of benefits for cities, from economic growth, job creation, and increased spending to greater tax revenues and cultural development.
The report ‘Understanding Small Music Venues’ is an attempt to capture, through both qualitative and quantitative data, a sense of the current state of play of the UK’s small independent music venues. This report considers specific individual feedback from venue owners, promoters and other stakeholders.
The BPI Music Market 2015 yearbook – a comprehensive guide to the 2014 music year in numbers, with detailed analysis and commentary on market trends.
The Copyright, Designs and Patents Act 1988 has been amended on a number of occasions since it came into force on 1 August 1989, but the amending laws have not been officially consolidated into a single text. This document shows the copyright only sections of the Copyright, Designs and Patents Act 1988 (as amended).
UK Music has launched IMAGINE a report which looks at the unrealised potential of music heritage tourism in the UK.
Music and the Internet is a guide for parents and teachers about helping children explore the web's music services safely and legally.
IFPI’s Investing in Music report, published in association with WIN, representing independent labels internationally, outlines the evolving and enduring partnership between labels and artists in the digital world.
The paid content market is finally getting going but it has been a long time in the making...
The report analyses data collected from a detailed survey of over 2500 internet-connected consumers (representative of the national demographic) to ascertain their attitudes and preferences to both consuming media and to creating and uploading it themselves, to use of their personal data, and to their willingness to pay for content. The survey was commissioned by Wiggin and fieldwork was carried out in March by ComRes.
This 36-page report looks at how digital became central to delivering music to fans, from a la carte to streaming, apps to social media and beyond.
The 2012 Working Musician report reveals that after years of training, more than half of professional musicians still get paid less than £20,000 per year and 60% have worked for free over the past year.
Richard Hooper has published a diagnostic report on how fit for purpose copyright licensing is for the digital age.
During June 2011, the BPI’s Digital Music Innovation Panel conducted a survey into music consumption patterns in UK households. The BPI sampled 1,000 adults with quotas on age, gender and household composition. They used a 25 minute online survey, with some metrics collected for individual respondents and some for entire households.
The fourth edition of this pan-industry report looks at the financial value attributed to constituent parts such as recorded music, the live industry and publisher revenues.
An introductory guide to gig and event marketing and ticketing .
A report that provides a point or reference for planning and building a music industry of the future, with the skills needs of the UK music industry at its core.
This report sought to qualtify the economic value of British jazz in 2008, based on responses to questionnaires sent to jazz musicians, promoters and record companies, and its findings compared with similar data published in its 2005 report. Overall, the estimated annual turnover of the jazz sector of the UK music industry decreased slightly from £86.77m to £85.05m between 2005 and 2008.
An open letter written by eminent British jazz artist Tim Whitehead, in support of Jazz Services' recently published report - The BBC - Public Sector Broadcasting, Jazz, Policy and Structure in The Digital Age (Jan 2010) - concerning the BBC's representation of UK jazz.
An IFPI report that outlines the role of record companies as the principal investors in music and talent. It seeks to dispel one BIG myth...that artists can easily build a sustainable and successful career in music without the help and support of a record label
Skillset has conducted a comprehensive UK-wide analysis of demand for skills in the Creative Media Industries and also for each UK nation. This Strategic Skills Assessment will inform and shape its priorities for the year ahead. Skillset was invited by the Department for Business, Innovation and Skills (BIS) and the UK Commission for Employment and Skills (UKCES) to provide evidence of the skills needs of the Creative Media Industries to inform an annual National Strategic Skills Audit that covers the UK's entire economy. All evidence has been submitted to Government. Three main reports can be found here, with a link to Skillset for further reports and information.
This new study (publ. March 2010) predicts losses due to piracy to reach as much as 1.2 million jobs and €240 billion in retail revenue by 2015 in the creative industries most impacted, based on current trends and assuming no significant policy changes. It shows that this sector is already experiencing substantial losses. In 2008 the creative industries most impacted by piracy (film, TV series, recorded music and software) experienced retail revenue losses of €10 billion and losses of more than 185,000 jobs due to piracy.
An examination of the disparity between jazz representation on the BBC’s public radio services and those elsewhere in Europe.
Capgemini's forward-thinking perspective on the challenges and opportunities in today’s media and entertainment industry.
This report looks at whether the BBC is doing all that it could and many argue should, to support jazz and other niche genre.
This position paper on digital music and carbon impacts is a response to the small number of research documents, including one by Julie's Bicycle, that examine energy use and carbon reduction associated with recorded music, with an emphasis on digital. It specifically recommends some further research into downloading and streaming.
This PRS for Music insight paper presents a case study on Spotify and then explores the concept of Average Revenue Per User, to inform both rights holders and users about what the acronym implies, and how it might mislead those in the digital music supply chain.
An examination of the disparity between jazz representation on the BBC’s public radio services and those elsewhere in Europe. It asks why British jazz exposure on the BBC should have declined so significantly in recent years, at a time when the skills, formal training, diversity and international status of UK jazz musicians has never been higher.
The thinking on the process supporting the objectives and obligations of the June 16th consultation paper (following publication of Digital Britain) has developed. This paper updates on these developments and invites public comment, extending the deadline for responses to September 29th 2009.
This report is a study of St Albans District Council’s implementation of the Licensing Act 2003 and the impact on the district's live music scene.
In the autumn of last year, PRS for Music published Recession and Royalties which asked a timely and pre-emptive question: "If the UK economy is about to enter a downturn, what does that mean for music?". That paper also provided a simple table showing what’s at stake. By adding up the industry for 2007, total revenues came to £3.2 billion with an 80/20 rule in place: eighty percent of revenue came from the consumer, and the remaining twenty percent from business-tobusiness. That table was an important first stab at working out what music was worth in the UK. Here, we revisit that table to provide a more insightful understanding of how to ‘add up the music industry’ for 2008.
Officially launched at Musexpo's recent London conference (30.06.09), 'A Price for Music Model' is an online tool which strives to enable artists and music rights holders predict the outcome of different strategies for tackling digital piracy on the music industry’s revenue fortunes to generate industry debate on how best to tackle copyright infringement.
Published on 14.05.09, this is the sixth report published since the inception of the Act. Despite the Act being deemed an overall success, the report expresses concerns that the Act may be "hampering live music performances especially by young musicians, who often get their first break through performing live at small venues such as pubs". It also calls for the scrapping of thecontroversial Metropolitan Police's Promotion and Event Assesment Form, Form 696.
Julie's Bicycle has brought together the UK music industry in an unprecedented show of strength and commitment to undertkae joint initiatives that will significantly reduce our C02 emissions. CD packaging is one of the music industry’s largest sources of direct GHG emissions, accounting for a third of recording and publishing, and at least 10% of the total emissions, from the UK music market. This report collects the combined research, expertise, wisdom and goodwill gathered over noine months and presents us as an industry - but also as a collection of intelligent, concerned and responsible human beings - with a 95% reduction challenge for CD packaging.
The UK's influential new Digital Britain report makes clear that the government intends to legislate a graduated response "Code" to deal with P2P copyright infringement, but the government says it has no intention of just propping up business models that are "increasingly obsolete." Meanwhile, the music industry says it doesn't go far enough to prevent piracy.
PRS for Music (formerly The MCPS-PRS Alliance), which collects and pays music royalties, announces record results for 2008 worth over £600m in royalties to UK songwriters, composers and music publishers.
A research report conducted by The Leading Question and Music Ally in the UK, US and France has found that music fans overwhelmingly back ISPs as their favoured music supplier when asked to choose amongst a variety of delivery mechanisms.
Marrakesh Records (The Killers, OperaHouse, Low vs Diamond and others) ask the people at the heart of the battle - people whose secrets are rarely revealed. They have designed the ten most pertinent questions and collated these insiders' telling and timely answers.
This artist road-map document is reproduced from MusicTank's "Face To Face With The Millennials" archive, and presented here for MidemNet Blog readers.
In his keynote presentation to the MusicTank think tank, 'Squaring The Circle' Dec 2nd 2008, Detica's Media Accounts Director, Dan Klein asserted that ISPs have an opportunity to break the cycle of declining revenues offered by digital music and suggested a set of models for future digital music sales in the UK.
On the eve of the deadline for submissions to BERR’s P2P consultation [30.10.08], and more than a decade after file-sharing applications appeared on networks, the supply chain engaging network providers, technology developers and musical copyright owners remains broken, with few signs of self-healing. Here, three authors representing the three disparate camps decided to 'knock heads together' to encourage the parties involved to knock heads as well and co-produce a solution that might satisfy all corners.
More Radiohead fans downloaded the band's most recent album illegally than through the official website, despite the band making it available for free. This study, produced by Will Page, the chief economist of the MCPS-PRS Alliance, in association with Eric Garland, CEO, Big Champagne, concludes that many people who download music illegally feel a strong sense of brand loyalty towards piracy websites, and will continue to use them even if they are offered an identical, gratis and lawful alternative.
This short Entertainment Media Research powerpoint presentation was given by Peter Ruppert - President of Entertainment Media Research (EMR) - at MusicTank's recent half-day conference - Face To Face With The Millennials, 17th July, 2008. EMR - the people behind PopScores and whose business it is to analyse consumers' connection with music - provided a UK focus to the significance Millennials play in helping break artists and bands coupled with a take on the trajectory of those who, once 'broken' by Millennials (and teens in particular), then go on to attract a completely different audience.
Like generations before them, young people today are passionate about music. from buying CDs and memorabilia, through to gigs, swapping music with friends and music discovery. What has changed entirely is how they go about doing this. Previous generations swapped music by lending each other their records, tapes and then CDs, listening to radio and reading magazines. Cassette-taped album copies, though potentially harmful to sales, fell some way short of replicating the original shop-bought product. For today’s youth, access to music has been blown open through rapid advances in technology...enabling the discovery, sharing and acquisition of music, globally...with no loss of quality...without parting with their own music...and all for free. The question is: how do we take their desire to engage with music – monetise it fairly – and take everyone with us in the process?
This report examines the coverage of jazz by Britain's national 'broadsheet' newspapers, television channels and radio stations. Such coverage was monitored for a two-month period at the end of 2007 and the beginning of 2008. It would appear that despite the growth of interest in jazz as evidenced by increases in festival and club audiences, the music is still treated as inferior to classical music in the press and on air.
A chance to read last week's much publicised announcement from EMI boss, Guy Hands to EMI staff.
An incredible revolution is sweeping the music industry and in the pages of this report you will read how record companies are adapting their business to the dramatic changes brought about by the digital age.
This Whitepaper cites the hurdles, drivers and market potential for mobile music, and is an extract from "Mobile Music Ringtones, Ringbacks, Full Tracks & Payment Models, 2007-2012."
This hugely ambitious and successful forum saw a select group of 120 participants from the global music industry brainstorm, debate and present fresh thinking on two issues of critical importance to the global music industry: (i) Fair Use and the Global Marketplace, and (ii) Monetizing Tomorrow's Digital Reality. This report is based on discussion from participants and is informed by results from delegate surveys. Each section of the report is organised by the questions that were framed for each issue and is integrated with survey results for each topic.
This report concluded a 12-month mapping excercise of UK Jazz in the year 2004-2005, in order to derive its total economic value, which it valued at £86.77m for that period. A subsequent larger study (part 2) was conducted in 2008 and published in 2010.
This report informed a MusicTank-produced think tank debate at the Gramophone Classic FM Awards, 28 September 2006 and was written by Darrell Panethiere and sought to address the impact of digital technology and other new forms of recording on the classical music sector. In particular, whether early download sale figures for the classical sector – which indicate that it may constitute a considerably larger portion of the market for digitally delivered music than it has, in recent years, constituted for physical sales – do in fact provide a genuine basis for optimism. The event itself, "Classical Returns: A Digital Renaissance", sought to identify and highlight the ongoing growth of classical music in the digital sphere and consider whether new digital formats and distribution methods could resurrect classical music as a major commercial entity?
Written by Jennifer O'Kane in 2004, this report sought to analyse the current health and likely future for traditional high street music retail. The full report is being prepared for download, in the meantime, the accompanying 3-page overview appears courtesy of CMU.