As the streaming wars intensify companies are fighting to lock up consumers’ entertainment dollars. But another scramble is underway to land creative talent. The skirmish is so fierce, and the talent so scarce, it sometimes means that rabid streaming competitors are messily in business with the same creators.
The creative community is concerned about the impact of the latest wave of media mergers and acquisitions, and about how paychecks will be affected by the shift to direct-to-consumer content platforms. There is growing interest over what role Netflix will play in the next round of negotiations.
According to information shared this week with DMN, the class action payout process is now riddled with problems. Those include flat-out non-responses, major errors in matching ISRCs with actual recordings, and other logistical problems. Jeff Price, founder of Audiam, part of SOCAN, told us that initial requests to match data and make claims were not receiving responses.
CISAC’s Global Collections Report 2019, published November 7, reveals that music collections have risen 26.8% over the last five years and accounted for 88% of total collections (alongside Audiovisual, Literary, Dramatic & Visual Arts collections) in 2018. In addition, music royalties from digital sources jumped 30% to €1.64bn ($1.81bn) last year.
The report identifies five key ‘barriers’ for music managers and their clients, including access to Finance; Support for Mental Health; Diversification of Skills; Transparency on Income Streams and Revenue and New Commerical Models. One of the the report’s recommendations is the need for an exploration of ‘new commercial models between managers and their clients, as well as those with key industry partners’.
Since launching the micro-membership model in November 2018, the site has garnered over 10,000 subscribers, and Sebastian expects that the election year will drive up that number even higher. Additionally, in October, Pierce’s content was up 60% in views year over year.
Spotify founder Daniel Ek is committed to transforming Spotify For Artists into a “two-sided marketplace” which can monetize the relationship that the 465,000 artists that use the currently free artist marketing and data platform. The streamer also revealed that a Two-Sided Marketplace would be “margin enhancing” and is at the center of current licensing renegotiations with the major labels.
Spotify Technology SA (SPOT.N) posted a surprise profit and beat Wall Street expectations for third-quarter revenue as the music streaming company added more-than-expected subscribers to its premium service, sending its shares up 12%.
Two weeks ago the Motion Picture Association branded the Polish VOD service CDA.pl as a notorious pirate site. However, the platform itself wholeheartedly disagrees. The publicly traded company accuses the MPA of continuing to spread false information, which is hurting its image and causing substantial financial damage as well.
In March of 2016, PledgeMusic acquired NoiseTrade and Set.fm. Both were direct-to-fan competitors competing for the attention of superfans, who spend big for their favorite music merchandise. The move made sense at the time, but these acquisitions may have been the first smoke signal of trouble.