Spotify Per Play Rates Continue to Drop (.00408) … More Free Users = Less Money Per Stream #gettherateright

Down, down, down it goes, where it stops nobody knows… The monthly average rate per play on Spotify is currently .00408 for master rights holders.

PerStreamAvg_Jun11_July15

48 Months of Spotify Streaming Rates from Jun 2011 thru May 2015 on an indie label catalog of over 1,500 songs with over 10m plays.

Spotify rates per spin appear to have peaked and are now on a steady decline over time.

Per stream rates are dropping because the amount of revenue is not keeping pace with the  number of streams. There are several possible causes:

1) Advertising rates are falling as more “supply” (the number of streams) come on line and the market saturates.

2) The proportion of  lower paying “free streams”  is growing faster than the proportion of higher paying “paid streams.”

3) All of the above.

This confirms our long held suspicion that as a flat price “freemium” subscription service  scales the price per stream will drop.  As the service reaches “scale” the pool of streaming revenue becomes a fixed amount.  The pie can’t get any larger and adding more streams only cuts the pie into smaller pieces!

The data above is aggregated. In all cases the total amount of revenue is divided by the total number of the streams per service  (ex: $4,080 / 1,000,000 = .00408 per stream). Multiple tiers and pricing structures are all summed together and divided to create an averaged, single rate per play.

Streaming Music is Ripping You Off | Sharky Laguna via Medium

A worthy read from Sharky Laguna on how streaming music has disconnected fans from bands.

You Are Worthless

Imagine a hypothetical artist on a streaming service. Which do you think that artist would rather have: 10,000 fans who stream a song once, or one fan who streams it 10,001 times? Seems obvious, right? 10,000 fans is much better than one fan! But the Big Pool method, which only cares about the number of clicks, says the single person is worth more!
Ass-Backwards

This is bad for the artist, but astoundingly it’s even worse for streaming services: if each subscriber is paying $10 a month then those 10,000 subscribers would generate $1.2M in annual revenue, while the single user only generates a measly $120. Clearly the services benefit from getting more subscribers, not more streams, so why are they incentivizing streams and ignoring subscribers?

READ THE FULL POST AT MEDIUM:
https://medium.com/cuepoint/streaming-music-is-ripping-you-off-61dc501e7f94

California’s Other Drought: The Coming Ad Revenue Crisis

Guest Post By Alan Graham

Last month I published this piece over on LinkedIn, but I felt it might need a second viewing (with updates) over here based on recent news on ad blocking and other developments. 

————–

Silicon Valley has a drought problem. But it isn’t the lack of water I’m concerned about. It is the over reliance on ad revenue and venture capital that is sustaining both tech and media. Now there’s a debate raging about whether or not we’re in another bubble (I was in the last one). The pro-bubble argument is often about overvaluations and spending. The anti-bubble argument shows charts on how VC investments and IPOs are much lower than the last one. Both sides completely miss the mark which is that since Google (er…Alphabet) and others began building empires on “freemium” type services, we’ve become accustomed to not having to pay for things, and what began with a tool here and there and some “free” content has actually become the predominant method of generating revenue across the web.

A possible disaster.

For the past two years I’ve been working on a project called OCL. One thing it does is it is the world’s first true microlicensing platform for apps that allows the merging of any creative asset with any other creative asset with all of the rights cleared “faster than instantly.” Yes…that’s possible. And it is actually built upon the idea of paying for things (a novel idea these days I know). I’ve run into a lot of resistance over this model to the point where I recently had an argument with a music journalist who saw no problem with the idea that advertising was a viable long term model of revenue and my predictions/concerns over a non-sustainable ad market (for everything) was silly.

I’ve also had many a meeting with executives who told me countless times that the punter won’t pay for anything. Their business model is to license large platforms and take a cut of ad revenue. During this time I’ve pointed out that with a finite amount of ad revenue that must be shared across all creative industries and tech platforms (all vying for attention), it simply is not possible to sustain a vibrant creative marketplace that requires ad revenue to keep it chugging along. And if those platforms have their revenue somewhat interrupted, that trickles down.

The reasons for being concerned are clear:

-ContentID was a anomaly born out of necessity to bring some order to a chaotic system of copyright infringement and push the biggest piracy site into some form of legitimacy.

-YouTube went from a method of promotion, to a method of generating much needed revenue, to cannibalizing sales of media, as there was no reason to purchase what you were already viewing/listening to.

-Ad revenue (CPCs) have been dropping year over year for the past 5 or so years, while volume continues to increase.

-Volume is increasing because there are simply more and more locations to place ads in an increasingly competitive market with a finite amount of ad dollars that simply shift from one point to another depending on popularity. Companies with ad budgets don’t suddenly spend more money because there are more locations to spend it. And quite frankly…volume is practically infinite.

-Increase in volume means a competitive marketplace that can drive CPC and other ad rates down further because we’re witnessing something happening to ads that happened to media, commoditization. All about numbers at this point, not quality of creative.

-We’re just getting started. Estimated reach/penetration of iOS/Android/FB is anywhere from 5M to 9M apps/platforms with 40k apps being added to iTunes each month alone. Reports show that the range of “free” apps is somewhere around 90%, both ad supported and in-app purchases. As that tail grows, so does volume.

-86%+ of our time accessing the web is now done through apps.

-Ad networks and other ad-based companies are going to get squeezed out of existence because of this, causing a collapse of an entire segment of tech which means thousands of high paying jobs are gonna go bye-bye and never come back. This is already starting to happen.

-Ad revenue is currently 80%+ of all revenue generated by Facebook and Google, two of the most important platforms for media distribution. It keeps their lights on and it is this revenue creators hitched their wagons to.

-Media companies (music, news, video, images) are scrambling to get a cut of that same ad revenue and finding they not only are competing for that money, they often have to spend money towards making that money back. Welcome to the world of paid non-organic reach. You now work for the company, live in company housing, and shop at the company store.

-Ad blocking is starting to take off in popularity and in court cases the judges in two instances sided with the ad blocking company stating that the user gets to decide what they want to do with their devices. 

What does this mean for rights owners?:

“Online ad blocking costs sites nearly $22 billion
The study, by software group Adobe and Ireland-based consultancy PageFair, found that the number of Internet users employing ad-blocking software has jumped 41 percent in the past 12 months to 198 million.”

 “Those losses are expected to grow to more than $41 billion in 2016, the study said.”

But that’s not all, there is also fraud:

“Last year, Google reported that 56.1 percent of all ads served were not measured viewable by humans.”


“Last December, the Association of National Advertisers and security firm WhiteOps estimated that up to a quarter of video ad views were fraudulent and resulting from software bots. It also said that as much as half of publisher traffic is from bots. This represents a projected $6 billion-plus in wasted ad spend this year.”


“Some industry observers go further than that, arguing that the digital ad industry is beset by traffic and other fraud because there’s a sort of arbitrage going on. Some exchanges, publishers, and ad networks are looking the other way, this argument goes, because they can make money on fraudulent traffic and fake ads.”


“The main losers are the advertisers themselves. But the publishers are getting shafted as well, Spanfeller said, since advertisers are paying $10 per thousand impressions while some publishers ‘get a buck.'”

 

-Mobile carriers in Europe are hinting that they also may begin to block ads at the carrier level citing increased performance and reduced bandwidth. How soon until we start to see ISPs offer the same services?

-It is estimated that Google is seeing as much as $6B in ad blocking occurring, and their total revenue in 2014 was $66B. That’s no laughing matter for a company making 90% of revenue from ads. Their response was to essentially say that the reason people are blocking ads is because we’re simply not making good enough ads. Yeah…that’s the reason. That type of flippant response to a $6B loss is why you should be very worried, because it means they are worried and don’t yet have an answer.

-For smaller publishers the problem is more pronounced. ProSiebenSat, one of the companies that sued Ad Blocker Plus and lost, stated that ad blocking was costing them upwards of 1/5 of their revenue or €9.2M

-Ad blocking users have grown to an army of nearly 200M people. That’s a word of mouth marketplace that any company would kill to have, except they are evangelizing the death of your business. Think about it as 200M people who have decided what you provide is interesting enough, just not interesting enough to pay for it via your #1 monetization plan. What’s your backup plan for monetization? What that says to me is that there are likely millions of content platforms overvalued and poised to collapse.

-With Apple’s recent announcement that they would allow third party developers to create ad blocking extensions for mobile Safari, the attention brought to this might take it mainstream, considering there are hundreds of millions of iOS devices and mobile Safari represents 25% of browsing. Welcome to the next viral technology success that you can’t actually afford to have take off.

-Facebook’s Instant Articles strategy could possibly be where advertising lives on, meaning that online publishers will have to become even more reliant on the tech giant for revenue, although it is likely both Apple and Google will follow suit. Meaning more of the open web gets sucked into the app environment where walls and AI decide what we will see and hear.

-My own tests with ad blocking has removed every ad from YouTube, one of the primary revenue sources for music labels and artists. Consider that most videos using music on YouTube (likely 60-70%) never generate any ad revenue at all, not to mention that YouTube is still not profitable (really?), this is one basket of eggs I’d be thinking of taking some eggs out of…

-Ad blocking is getting more and more sophisticated with ad block plug ins for Safari, Android, Chrome, and even Spotify. Not only can you block Spotify ads (the freemium model they defend to the death – no freemium no paid), but you can rip tracks from Spotify with all the metadata intact.

PopcornTime. Free movies and tv shows playing direct to your device with a gorgeous interface, high quality resolution, built-in VPN, and zero ads…need I say more? Expect more solutions like this to pop up, including alternative music platforms. IMAGINE: Playlists created in Spotify exported to a BitTorrent decentralized music player…this will happen.

The next 12-24 months are going to be a watershed where we see just how much of this shakes out. The problems are numerous, but the biggest issue I see is that we’ve spent so much time investing in ad-based technologies and their revenue streams, we’ve not built a single alternative solution which can cover any losses if this all goes belly up. There is a massive consolidation of power occurring at the top of tech where we may only be left with 4-5 companies that control most of the web/Internet as we use to know it, and the creative class is left with no real technology of its own and very few options of how to reach their customers without being at the mercy of another giant tech company.

Years ago I use to drive between California and Oregon quite often and I began to see a trend happening. The boats on the reservoir began to leave the docks as the water receded from the shore. They began to huddle together in the center of the lake as there was less and less water. Essentially they became the last holdouts hoping a great rain would restore everything to the way it was. But it won’t.

Part of the problem California is facing with its shortage of water is due to the fact that they never planned for the possibility of drought, although they certainly talked a lot about it. They are shortsighted. They saw an endless supply of water and all the riches it brought. As humans we very rarely ever prepare for the worst, because we’re always so caught up in the moment and at the moment we’re still feeling the best of times: toilets are still flushing and faucets are still flowing.

The situation with ad revenue and VC backed advances and payments is no different, and if we don’t start working on a fundamental shift on how we as a society pay for things we value, we’re going to see a lot more than just water dry up.

Alan Graham is the co-founder of OCL

Did Google & YouTube just Scam The Entire Record Business into Free Streaming Licenses? MusicKey is MIA…

Remember all the controversy over YouTube’s ad-free streaming subscriber service, MusicKey? If the words “Google” and “Ad-Free” sound like a complete contradiction, you are not alone.

MusicKey_AdFree

Ok, so where is it? We tried to sign up, but we’ll be notified later when the service is available.

whenMusicKey

Remember how one of the requirements was ALL OF YOUR MUSIC also had to be licensed for FREE STREAMING on YouTube or your promotional videos would be blocked or banned from the site?

Did you forget? No worries, here is the recap from Zoe Keating’s blog that brought the issue to light.

1) All of my catalog must be included in both the free and premium music service. Even if I don’t deliver all my music, because I’m a music partner, anything that a 3rd party uploads with my info in the description will be automatically included in the music service too.

2) All songs will be set to “montetize”, meaning there will be ads on them.

3) I will be required to release new music on Youtube at the same time I release it anywhere else. So no more releasing to my core fans first on Bandcamp and then on iTunes.

4) All my catalog must be uploaded at high resolution, according to Google’s standard which is currently 320 kbps.

5) The contract lasts for 5 years.

So, “All songs will be set to “montetize”, meaning there will be ads on them.” That’s one hell of a trade-off to get some subscription money, but maybe it won’t be so bad once that MusicKey money starts rolling in right? YouTube and Google have a HUGE amount of users to convert to PAYING SUBSCRIBERS, right?

Hahahahahahahahahaa. You fell for that gag? Seriously? Here’s what YouTube says about that little side business of PAID SUBSCRIBERS…in an interview between YouTube Senior Exec Robert Kyncl and Music Ally: YouTube Music Key delay ‘nothing too serious’ says senior exec.

“We’ll always have ad-supported: that’s our core, and we’ll never stop focusing on it.  It’s in Google’s DNA to be in the ad-supported business.

Subscription is just an add-on. It’s an adjacent business that we’re building.”

Suckas… You seriously thought Google who has slathered the internet with advertising on “User Pirated Content” across multiple platforms was going to pivot to a paid subscription model to move away from advertising on it’s flagship video streaming site? Really? Seriously?

You saw that five year term, right? So MusicKey is a no show for subscriber revenue but thanks to that five year term the largest streaming service in the world, that pays the least amount per stream now has licenses for the next half decade. As the kids say, LOL.

Don’t worry about MusicKey not showing up anytime soon with that Paid Subscriber Money, in the meantime enjoy your life’s work as a YouTube auto-generated music video and playlist, for free.

Oh MusicKey we would have loved to have known you – now all we have is our catalogs of master recordings being monetized on old-school YouTube for pennies on the dollar of every other streaming service including Spotify. Wow, just wow.

And Speaking of Spotify, guess who has a seat on the board to make sure that their “ad-supported DNA” remains the primary focus of that music streaming service? Three guesses… Yup, it’s Google.

Here’s a trip down MusicKey memory lane…

April 2014 : Exclusive: ‘YouTube Music’ Is Launching This Summer… | Digital Music News

June 2014 : Artists who don’t sign with YouTube’s new subscription service to be blocked [Updated] | Ars Technica

June 2014 : F*&K It: Here’s the Entire YouTube Contract for Indies…| Digital Music News

November 2014: YouTube’s MusicKey Will Cause $2.3 Billion In Music Industry Losses… | Digital Music News

January 2015 : YouTube Is Removing Any Artist That Refuses to License Its Subscription Service…| Ars Technica

April 2015 : If You Don’t Agree to YouTube’s New Ad-Free Terms, Your Videos Will Disappear…|Digital Music News

June 2015 : YouTube Music Key delay ‘nothing too serious’ says senior exec | Music Ally

Exhausting… Why would anyone trust these people? All hail “User Pirated Content“… and if that doesn’t work just come up with a non-existent paid subscriber streaming service that auto-generates music videos and playlists on the free, ad-supported platform. At least that part is working, right?

Let’s talk about transparency for a second. Why is it that YouTube would be excluded from Google’s own DMCA tracking report? It couldn’t be because DMCA notices and takedowns of infringing material YouTube dwarf even the most notorious of pirates sites say like The Pirate Bay? No, that wouldn’t be the reason would it?

553k_InfringingBusinessesMaybe #adbusters and #blackspot really do have it right…

Why .002 is Greater than .001 and Why 90 Days is Better than Forever…

There’s been a lot of talk and understandable dissent surrounding Apple’s free tier payment of the reported .002 per play during each consumers 90 day free trial period. We now live in a world of lessor evils.

Here are three things that we may want to keep in mind…

One:

Eliminating the Unlimited Free, Ad-Supported, On-Demand Access to Music is Job #1. Apple Music and Tidal are both positive steps in that direction.

Two:

.002 is DOUBLE .001 which is what Spotify is paying on it’s ad-supported free tier (see chart below). Yes, we’d love Apple to pay the full ride. Yes, Apple can afford to pay the full ride. Yes, we support any action that influences Apple to pay the full ride – but as a compromise we could be doing worse, and in fact we have been for over five years since the Spotify launch.

Three:

90 Days is Limited. Ad-Supported is forever. This is the big problem. Even if  Spotify was limiting their ad-supported free tier to 90 Days, Apple is still paying DOUBLE. But the real problem is that Spotify is FREE FOREVER. It’s time to keep the eye on the prize here.

Three Steps to a Sustainable Digital Music Ecosystem:

1) Eliminate the Unlimited Free, Ad-Supported, On-Demand Access to Music

2) Windowing

3) Tiered Pricing, based on Access and Consumer Value Proposition

That’s really it. It’s not really any harder than this and we can already see these models working for the Film and TV businesses.

 


 

Streaming Is the Future, Spotify Is Not. Let’s talk Solutions.

 

Why Spotify is not Netflix (But Maybe It Should Be)

 

Why Digital Exec’s ARPU is Bad Math and also Bad Philosophy for Artists.

Warner Music Group Free Streaming Advocates Lose Another $100m in 2014… Can’t Make This Up…

We can’t help but think these two things are related. Read the full stories at DMN… Here and Here

WarnerMusicGroupLosses

 

 

WarnerMusicFreeStreaming

So how’s that $3.00 per “user” annual ARPU working out from free streaming?

It’s amazing to us that the current conversation and controversy is still focused on the free tier. We’re not entirely certain that Spotify can even work at $10 a month / $120 per yer, per subscriber. The number of subscribers needed to replace the revenue from transactional sales exceeds those of any current mature subscription business.

It will take  60 Million PAID subscribers at $10 a month to generate about $7.2b in gross revenues annually. It takes another 30 Million (or 90 Million PAID Total) to come up with $7.5b payable to rights holders. Ninety Million. Paid…

Here’s some context for the chart above. Netflix only has 36m subscribers in the US, no free tier, and massive limitations on available titles of both catalog and new releases. Sirius XM, 26.3m in the US as a non-interactive curated service installed in homes, cars and accessible online. Premium Cable has 56m subscribers in the US paying much more than $10 a month and also with many limitations. Spotify… 3m paid subscribers in the US after four years. Tell us again about this strategy of “waiting for scale.” Three Million Paid… Three…

* 3m Spotify Subs Screen Shot
* 26.3m Sirius XM Subs Screen Shot
* 36m Netflix Subs Screen Shot
* 56m Premium Cable Subs Screen Shot
* $7b Music Business Screen Shot

It’s just math.


 

Streaming Is the Future, Spotify Is Not. Let’s talk Solutions.

Music Streaming Math, Can It All Add Up?

Spotify is the Problem, Not Labels. (Well, Mostly…)

 

 

 

Why Digital Exec’s ARPU is Bad Math and also Bad Philosophy for Artists.

ARPU. Do you know what that is? It’s Average Revenue Per User. Not withstanding the insulting connotation of referring to fans as “users” this is just bad on a number of different levels.

Leaked Sony emails suggest that digital music executives confuse per-capita with ARPU. One of the items we’ve found cruising wikileaks has digital music execs explaining the digital landscape ARPU as follows:

$120 Streaming Subscription

$68 Downloads

$3 Ad-Supported Streaming

We’ll get into the fallacy of the $68 Downloads vs the $120 Streaming Subscriptions in a minute. But first, let’s just look at the fact the industry digital execs actually clocked ad-supported ARPU at $3 per user per year and did it anyway! Seriously? Really? Who thinks going from $68 to $3 is a good idea and then doubles down on trying to get sell in on it? Wow, just wow.

Ok, now back the $68 Downloads ARPU. The question that never seems to be qualified in these ARPU valuations is how many users exactly contribute to the revenue pool to end at up an average of $68 per user? The next question would be how many of those “average” users are paying significantly more than $68? Hell, how many are paying significantly more than $120 per year?

In a basic 80/20 model we would expect that 80% of the revenue would come from 20% of the consumers (er, um… “users”). This means the most valued “users” are now being artificially flattened DOWN to $120 per year.

Streaming Subscription fees as a representative of ARPU doesn’t work, because there are only TWO numbers that can be worked into the average, $120 and zero. So now you have the problem of trying to raise the causal user up to $120 per year while you’ve flattened down your best costumer (er, user). This is the crazy rational behind dropping streaming subscriptions down below $120… But wait… wouldn’t that just also artificially flatten the overall market even lower than the $120 ARPU? Yeah… you bet it would.

It’s truly astounding the lack of ability to use calculators and do simple math. We’ve pointed this out again and again. Even at 90 Million Paid Subscribers at $120 per year, that only generates $7.5b in industry revenue. Ninety Million Paying Subscribers. Just keep saying that over and over until it sinks in.

Subscriptions artificially flatten the market and require extremely high (and largely unrealistic) subscriber numbers because the actual number of “users” consuming music is probably at least double 90 million in the USA. That’s where an ARPU of $68 starts to make sense, somewhere around 110-155 million consumers, but most likely even higher. So, here’s the rub – who really believes that Spotify (or all subscriptions streaming services combined) are going to convert 10s of millions of casual consumers/users into $120 per year ARPU’s? They’re not and that’s why this model is screwed.

ARPUisBAD

For streaming to truly mature the industry needs to embrace tier based, value pricing, so that a truly dynamic and flexible ARPU can be restored. The one size fits all Streaming Subscription ARPU is a lie, and the math shows us why.

 

 

Spotify is the Problem, Not Labels. (Well, Mostly…)

There is a narrative that keeps getting repeated by Spotify apologists and propagandists. It goes something like this, “The problem is not that Spotify pays too little to artists it’s that record labels are not paying the artists their fair share of royalties from Spotify.” Ha! When the gross payable is half a cent or less we think this has a lot more to do with Spotify than labels.

But this idea that labels are the problem pretty much means that Spotify ignores or otherwise feels that any artist not signed to a major label is unimportant in this conversation and that’s too bad.

We don’t know how many artists and small DIY indie labels aggregate to Spotify via Tunecore and CDBaby for example but we suspect it’s literally THOUSANDS of artists that are not signed to major labels (or ANY label). These are artists who are collecting either 100% of their Spotify royalties directly (Tunecore) or collecting those royalties after a 9% dist fee (CDBaby).

When Spotify shifts the blame for low royalties they are ignoring and invalidating all of the artists not signed to major labels, or any label. There are no industry middlemen taking Zoe Keating’s royalties from Spotify. The per stream rate is just incredibly, horribly bad. 

There are high profile artists such as Zoe Keating and others who echo the sentiments of artists across all strata’s of the business. The economics of Spotify are just unsustainable from the top down at present rates.

Everyone knows that record labels advance massive amounts of money to develop the careers of those artists signed. These advances are recouped from monies earned in royalties. One can argue about the recoupment mechanics but it doesn’t change the fact that with so little money being generated by Spotify the problem is much greater then the labels.

It’s also interesting that in all the talk of democratization and empowering musicians how little of it appears to be actually happening.

99.9% of Tunecore Artists Make Less Than Minimum Wage…

If the Internet is working for Musicians, Why aren’t more Musicians Working Professionally?

We’ve detailed numerous times how at the top end of the food chain, the Spotify math just doesn’t work and would require more subscribers paying $9.99 a month then any other mature premium subscriber business has achieved to date.

Here’s some context for the chart above. Netflix only has 36m subscribers in the US, no free tier, and massive limitations on available titles of both catalog and new releases. Sirius XM, 26.3m in the US as a non-interactive curated service installed in homes, cars and accessible online. Premium Cable has 56m subscribers in the US paying much more than $10 a month and also with many limitations. Spotify… 3m paid subscribers in the US after four years. Tell us again about this strategy of “waiting for scale.” Three Million Paid… Three…

* 3m Spotify Subs Screen Shot
* 26.3m Sirius XM Subs Screen Shot
* 36m Netflix Subs Screen Shot
* 56m Premium Cable Subs Screen Shot
* $7b Music Business Screen Shot

And, just so everyone is clear, we’re not giving the labels a free pass either. But Spotify’s divisive punt to blame the labels for their own bad business model isn’t fair. We’ve reported on the 18% equity stake the labels took as part of their licensing agreements. That’s an 18% equity stake that we’re pretty sure the artists won’t participate in at the time of an IPO or sale (should there be one).

The larger issue in this conversation however is that if Spotify and on demand streaming services can not generate the same or more revenue then transactional sales, then the model is a net negative for artists.  This has nothing to do with labels and everything to do with a flawed business model. Removing the free Ad-Supported tier after a limited time is probably the first, best and most obvious immediate solution but not the only one that should be addressed.

Spotify can not hide behind their bad math by shifting blame to labels when so many artists are getting their royalties from Spotify directly without labels.

 


 

Spotify Must “Adapt Or Die” : Pricing For Sustainability

 

Five Important Questions For Spotify from Artists and Managers

 

Streaming Is the Future, Spotify Is Not. Let’s talk Solutions.

 

Spotify Desperately Doubles Down on Dumb Bad Math… Free Doesn’t Pay, It’s Just Math.

Bring out your shills… It’s no surprise that Spotify has once again enlisted it’s shills and PR machinery to defend it’s exploitation of artists, bad business model, and horrible royalties. The latest offensive comes as the major labels have announced that the unlimited free tier is not working for them (go figure, free doesn’t pay?).

Last year we wondered out loud, Who will be the First Fired Label Execs over Spotify Fiasco & Cannibalization? In February of this year we found out when Rob Wells exited his post at UMG. Around the same time public comments were made by Lucian Grainge for the need to get more paid subscription revenue. He also noted that the free tiers are not creating the type of performance required for a sustainable ecosystem of recorded music sales. Sony music chief Doug Morris has also come to the party stating, “In general, free is death.

Generally speaking we’re not often fans of major labels (remember they have 18% equity in Spotify) but we’re glad they’ve gotten out the calculators. Right now, the three major labels are currently reviewing their licenses with Spotify which are up for renewal this year. This is the time for the major labels to renegotiate those licenses to be more fair for artists.

We’ve detailed the math here, Music Streaming Math Can It All Add Up? In that post we look at the numbers based only upon paying subscribers. The bottom line is that even at the current rate of $9.99 (per month, per subscriber) it’s going to take a lot more paying subscribers to even get close to the type of revenue earned from transactional sales. Free, ad supported revenue, not even close.

Here’s a couple more things to keep in mind that we’ve detailed:

* Spotify Per Stream Rates Drop as Service Adds More Users…

– and –

* USA Spotify Streaming Rates Reveal 58% of Streams Are Free, Pays Only 16% Of Revenue

But perhaps the worst part of Spotify was outlined by Sharky Laguna’s editorial, “The Real Reason Why The Spotify Model Is Broken.” The well written piece details how the artist you play, may not be the artist who get’s paid due to the fixed revenue pool and market share distribution of revenues.

Now keep in mind we’re not anti-streaming. We completely believe that streaming is the future of music distribution and delivery. None of our arguments here are anti-streaming or anti-technology.

Our arguments are anti-exploitation and anti-bad business models. Technology and economics are different issues. We detailed our thoughts for moving forward with potential solutions in our post Streaming Is The Future, Spotify Is Not, Let’s Talk Solutions. We look at five practices that can make streaming music economics viable for all stakeholders and generate the revenue required for a sustainable ecosystem.

When a Spotify rep says, “We think the model works” keep this in mind as we review the Spotify Time Machine…

* 2010 A Brief History Of Spotify, “How Much Do Artists Make?” @SXSW #SXSW

Back in 2010 during Daniel Ek’s Keynote Speech an audience member who identified themselves as an independent musician asked how much activity it would take on Spotify to earn just one US Dollar. The 27 year old wunderkind and CEO of the company was stumped for an answer… Five years later we have a pretty good idea why.

– and –

* 2012 A Brief History Of Spotify, “It Increases Itunes Sales”… @SXSW #SXSW

Ek strenuously denied that his streaming service cannibalises sales of music through services such as Apple’s iTunes.

“There’s not a shred of data to suggest that. In fact, all the information available points to streaming services helping to drive sales,” he said.

Of course, that was until this past year when Itunes sales are reported to have declined by 13-14% and that is pretty much directly attributed to the cannibalization done by Spotify. Hello…

It is said that one of the definitions of insanity is to keep doing the same thing while expecting different results. Our suggestion to the those in positions of power is simply this, if  you want something different, you have to be willing to do something different.

Sure, Spotify was a grand experiment but after half a decade we now have the data to know if that experiment is working out (or not). In the end, it’s just math and free doesn’t pay…

 


 

Streaming Is the Future, Spotify Is Not. Let’s talk Solutions.

 

Spotify Per Stream Rates Drop as Service Adds More Users…

 

USA Spotify Streaming Rates Reveal 58% of Streams Are Free, Pays Only 16% Of Revenue

2012 A Brief History Of Spotify, “It Increases Itunes Sales”… @SXSW #SXSW

Stop us if you’ve heard this one before… Spotify doesn’t cannibalize Itunes sales it actually increases them… Uh huh. That was the rap they wanted us to believe. Smart and cautious artists and labels seem to have been right by avoiding Spotify.

In 2014 Itunes sales are reported to have declined by 12-14% and that is pretty much directly attributed to the cannibalization done by Spotify.

So here’s what they said in 2012…


Spotify Plays Can Increase iTunes Sales. Here’s Proof! | TechCrunch

… there’s no evidence of Spotify or other streaming services negatively impacting music sales. More data like this could encourage artists and labels to promote their streaming music presences, and push acts like The Black Keys and Paul McCartney who’ve pulled their catalogues from Spotify to come back.


Spotify launches new apps, as Universal again defends the service| CMU

Paul Smernicki did some more defending at a Guardian conference. According to Music Ally, Smernick told the conference: “We’ve looked really really hard for evidence of cannibalisation, almost unobjectively. Across the business, we’ve been unable to find that evidence. And in [European] markets where Spotify has launched, the growth in the digital business has been about 40%, in territories where it doesn’t it’s around 10%. There’s a healthy ecosystem and it can be served by many of those services”.


Spotify chief: streaming services boost music sales | The Telegraph UK

Speaking to digital music site Evolver.fm in a pre-Grammys interview, Ek strenuously denied that his streaming service cannibalises sales of music through services such as Apple’s iTunes.

“There’s not a shred of data to suggest that. In fact, all the information available points to streaming services helping to drive sales,” he said.


Does Streaming Cannibalize Albums? | Billboard

Wilson points out that the number of digital downloads has increased-up 15% for albums and 6% for tracks in the first 46 weeks of 2012, according to SoundScan-suggesting that the widespread availability of free on-demand streaming hasn’t led to a sales apocalypse.

Rhapsody chief executive Jon Irwin says, “The only thing streaming music cannibalizes is piracy.”


So there you have it.  Three years later and meanwhile back on earth the actual effects of Spotify on the transactional sales of recorded music have been a disaster. Which is why there are major changes happening at the major labels as Spotify licenses come up for renewal.