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Artists Share The Sad Truth Behind Spotify’s Wrapped Feature

Spotify’s end of year feature creates a lot of conversation around music, but artists are speaking out about the reality of streaming service success.

With December well underway, Spotify Wrapped is once again the talk of the music industry. Spotify’s annual end of year roundup feature generates a lot of interesting data points that fans can use to share their musical taste and that artists use to promote their rising profile. However, there are some critical data points left out of Wrapped that many artists believe need far more attention. Specifically, how much money musicians make from the streaming giant.

One-million of anything seems like a lot. One-million houses would virtually end the homelessness problem in the United States. One-million slices of pizza could feed you and everyone you know for months, if not years. One-million dollars is considered a life-changing amount of money.

One-million plays, however, are not so impressive when you consider the amount of money earned from that level of engagement.

After sharing their end of the year stats that boasted over 1.1 million plays of their catalog on Spotify with fans, pop-rock group You, Me, And Everyone We Know shed some light on the reality of streaming success. The group’s frontman, Ben Liebsch, wrote:

“1.1 Million plays = $7,700 in gross revenue. That’s before labels and producers get their cut. Then you have to try to pay for another recording. Why do artists get paid last? Musicians deserve a better cut.”

He added, “Grateful for the listeners, but artists are getting hosed.”

https://twitter.com/youmeband/status/1202691545645932545

Another band, Dowsing, shared a similar message with their Spotify Wrapped statistics. The band wrote, “We are thankful for your streams. Buy the physical medium to support art. Buy directly from your favorite band’s label. There is no better way to help them climb out of artistic debt.  When bands work with the right label and have less financial stress they can succeed.”

When retweeting Dowsing’s message, the band Dikembe added a little math to help fans understand the reality of the situation. 

“Did you know you would have to stream our songs approx 3,000 times for us to make the same amount of $$ as we would selling a record,” they tweeted. “So please listen to our records 3,000 times in a row.”

Elsewhere, Torres summarized the situation by writing, “Your favorite musician has $90 to their name and a billion Spotify plays.”

https://twitter.com/torreslovesyou/status/1202616588165419009

Artists aren’t the only ones aware of the problem with streaming. Countless music fans have tweeted jokes referencing the amount of money they helped an artist earn after listening to dozens, hundreds, or even thousands of hours of content. 

Calculating streaming revenue, especially from Spotify, can be tricky. There is no fixed amount earned per song stream. Instead, earnings from streams are based on the total numbers of streams an artist had in relation to all the streams on the platform. For example, if there were 10 song streams on a day when Spotify had just 100 total streams would earn far more than 10 song streams on a day when Spotify had over 100,000,000 streams. Every artist is, in a way, competing against one another for fractions of pennies, while Spotify earns more as the total amount of plays continues to rise as the Spotify community continues to grow.

Dan Ozzi, former head of Noisey, posted an update to his popular Reply Alt newsletter this week where he asked several musicians how people can support their favorite artists without necessarily buying stuff. Head over here to read what he learned. 

Spotify has not commented on any outcry related to the Wrapped discussion, nor do we expect them to anytime soon. Change it seems, at least for right now, is unlikely. Artists will need to work together to force a conversation about streaming royalty fairness before any giant corporation budges on the current terms of their agreements.

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Report: Live music sales slip in first-half of 2019

Despite more artists touring than ever before, total ticket sales and revenue for live music is down compared to the same period in 2018.

Are the cost of concerts too high for consumers, or are there not enough megastars touring right now? Are people growing tired of live music, or has the number of tours happening at any moment time overwhelmed audiences? We don’t have any answers, but these questions need to be addressed.

Pollstar released data regarding the top 100 tours of the year so far, and the results show a steep decline in sales compared to the same period in 2018. The stats show that Sir Elton John had the global highest-grossing act in the first-half of 2019, generating $82.6m across 56 shows. The British singer/songwriter, currently on his farewell tour as biopic Rocketman graces movie theaters, brought in more than P!nk (No.2 with $81.8m), Justin Timberlake (No.3 with $75.5m), Metallica (No.4 with $69.7m) and Fleetwood Mac (No.5 with $67.7m). 

Those figures are impressive, and they represent countless sold out shows in large arenas, but they pale in comparison to sales from last year. According to Pollstar’s data from the first-half of 2018, the Top 100 global tours turned over $2.81bn in gross sales. In the same period this year, however, this worldwide figure for the Top 100 tours stood at $2.06bn – falling by 26.8%, or $752m, year-on-year.

That three-quarter of a billion-dollar decline is setting off alarms throughout the industry, and raising a lot of questions about what could explain such a change. 

Not surprising, total ticket sales for 2019 so far are down as well. Data from 2018 reveals 31.29 million tickets sold in the first six months of the year, but in 2019, that number is down to 22.28 million. That’s a 28% change.

The one area of ticketing that increased this year? Ticket prices.

Calculations by Music Business Worldwide suggest that the average ticket price of the world’s Top 100 shows was $92.42 in H1 2019 – up from the $89.85 average price posted in the first half of last year.

MOST EXPENSIVE AVERAGE TICKET PRICES IN H1 2019 AMONGST THE TOP 100 NORTH AMERICAN TOURS, ACCORDING TO POLLSTAR

  1. Bruce Springsteen, Springsteen On Broadway ($506.39 average)
  2. Lady Gaga ($269.94)
  3. Aerosmith ($205.02)
  4. Bruno Mars ($193.76)
  5. Andrea Bocelli ($176.41)
  6. George Strait ($173.74)
  7. Gwen Stefani ($170.24)
  8. Eagles ($157.86)
  9. BTS ($146.62)
  10. Fleetwood Mac ($143.58)

The possible explanations for these changes are numerous. More artists touring could mean less income for top-tier talent, but the number of festivals and tours for talent at all levels that have struggled to fill venues says otherwise. The increasing cost of tickets for good seats, coupled with the continuing reign ticketing bots, may also explain the change, but there is not enough data to support that idea at this time.

With streaming revenue remaining stagnant, artists are depending on tour revenue to keep their careers afloat. That may, in part, explain rising ticket prices, but if the cost of admission alienates consumers then artists will be in more trouble than they are right now.

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Industry News News

Despite streaming’s growth, the music industry is half the size it was in 1999

The streaming revolution is helping the music industry recover with each passing year, but there is still a long way to go.

Music fans and industry professionals too young to remember the panic that followed the start of the new millennium are lucky. For years, the widely accepted narrative that music piracy made easy by the internet was killing the business of music left many feeling lost and afraid. Labels downsized, if not folded entirely, and many artists on the rise struggled to convince fans that music was worth the same price it previously demanded.

Paid streaming subscriptions were sold to industry as a savior, ushering in a new era of consumption that would counteract the effects of illegal music downloading by making virtually all recorded music accessible from anywhere on Earth for one low price. The return for buying into that promise took years to appear, but there is no denying that streaming services have made a positive impact on music overall. Everyone knows someone who pays for streaming music. In fact, it’s increasingly hard to find someone who doesn’t

According to a new report by the International Federation of the Phonographic Industry (IFPI), global recorded music sales grew by 9.7% in 2018, to $19.1 billion, the fourth consecutive year of growth after many years of decline. The results were driven by a surge in paid streaming, which rose by 33% last year.

Adjusted for inflation, however, sales in 2018 were just over half of what they were in 1999.

As we previously highlighted on our blog, there are now 255 million paid music subscribers, accounting for 37% of total industry revenue. When ad-supported services are added, streaming now accounts for 47% of sales of recorded music.

That growth is impressive, but again it’s important to maintain perspective. While streaming continues to gain popularity, its market dominance most offsets losses in the sales of physical media.

Revenue for physical formats in 2018 fell 10% from the year prior, and digital download revenue fell by 21%.

Major labels now celebrate the success their artists experience from streaming services, which is surprising considering the stance many in the industry took against such platforms just a decade ago. It seems many see streaming as the best way to prevent piracy, even if it means a lower return than what physical media sales offer.

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