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Added on 20th April, 2018 by Mark Mulligan

The 20,000 Foot View: Recorded music revenues are booming and the distribution end of the value chain is both vibrant and competitive. This has not been the case for many, many years. Streaming is on course to become the main revenue source, while the slowdown in legacy format decline is enabling that growth to lift the overall market at a greater rate. The big record companies retain their dominant market positions, but, just as on the distribution side of the equation, the rights side of the recorded music market is undergoing transformation, with artists going direct the big revenue trend to surface in 2017.

Key Findings

  • Global recorded music revenues reached $X billion, up $X billion from 2016
  • Streaming was the key driver of growth, up X% year on year to reach $X billion
  • Legacy formats (physical and downloads) were down $X million; this was less than $X million lost in 2016
  • Label revenue from performance royalties and synchronisation reached $X billion in 2017, representing X% of the total
  • Universal Music remained the largest label group in 2017 with annual revenues of $X, followed by Sony Music ($X) and Warner Music ($X)
  • Warner Music was the fastest growing major with X% annual growth, though Universal Music added the most revenue in absolute terms
  • Independent labels had another strong year, growing by X% to reach $X million
  • Artists direct (i.e. artists without labels) were the biggest gainers in 2017, growing by X% to reach $X million,
  • Artists direct increased its market share from X% (2015) to to X% (2017) while Warner Music increased its share from X% in 2015 to X% in 2017
  • Artists direct and independents combined represented X% of all revenues in 2017

Companies and brands mentioned in this report: Amazon, Apple, Apple Music, Bandcamp, Believe Digital, CD Baby, Cooking Vinyl, Deezer, Napster, Sony Music, Spotify, Tunecore, Universal Music Group, Warner Music Group

Charts: 3
Pages: 11
Words: 1,465

Includes Synopsis, PDF, Slides and Dataset

Added on 28th March, 2018 by Tim Mulligan

The 20,000 Foot View: Home entertainment primarily consisting of DVD, Blu-ray and Electronic sell-through (EST) was a necessary content delivery experience. It enabled the movie business to participate in the first stages of the shift to digital at the turn of this millennium. With the near mainstream adoption of streaming video on demand services built around a monthly paid subscription model, this consumer proposition is now being eclipsed by Subscription Video On Demand (SVOD) alternatives and we’re seeing younger demographics abandon the technologies underpinning home entertainment.

Key Findings

  • In 2016 US home entertainment revenues were $X billion for the seven major studios
  • Home entertainment accounted for X% of US studio revenue in 2016
  • US home entertainment revenues declined by X% between 2012–2016
  • X% of consumers no longer see ongoing value in paying to download movies
  • X% of consumers who used to download films now stream them
  • Only X% of consumers prefer to pay to download films in order to own a personal copy of the movie
  • X% of consumers still prefer to buy DVDs or Blu-rays in order to own a personal copy of the movie
  • 20th Century Fox has seen the most dramatic decline in home entertainment revenue
  • Paramount (Viacom) has seen the smallest decline in home entertainment revenue

Companies and brands mentioned in this report: 20th Century Fox, 21st Century Fox, Lionsgate, NBCUniversal, Paramount, Sony Pictures, Time Warner, Universal, Walt Disney, Warner Bros., Viacom

Charts: 5
Pages: 14
Words: 2,084

Includes Synopsis, PDF, Slides and Dataset

Added on 27th March, 2018 by Karol Severin

The 20,000 Foot View: Binge watching is mainstream among console owners. It increased slightly during 2017 among SVOD subscribers, while the consumer average remained unchanged. As the attention economy peaks, with consumers having no additional digital time to allocate, the competition for time between the worlds of on-demand video and gaming will intensify. The effect will be twofold: increased binge watching threatens games publishers whose revenues are becoming increasingly engagement-dependent; at the same time, gaming time demands among binge watchers will threaten video services. In order to mitigate these risks, prevent unnecessary losses and find ways to make these dynamics work to their respective advantages, both industries will have to start paying far more attention to one another.

Key Findings

  • In the attention economy, games and subscription video on demand (SVOD) services are becoming fiercer competitors
  • At X%, console owners binge watch nearly as much as video subscribers do (X%), and far more than overall consumers (X%)
  • Between Q1 and Q4 2017, binge watching increased by X% among console owners, compared to X% among video subscribers and X% consumer average
  • Increasing binge watching penetration is a threat to engagement-dependent games publishers, but also to SVOD services
  • Major SVOD services could provide games (or gamified experiences) alongside shows  in order to reduce savvy switching among gamers
  • Many of SVOD’s most engaged users are console owners
  • Console owners (X%) are often more likely to subscribe to and cancel SVOD services than video subscribers (X%).

Companies and brands mentioned in this report: Activision, EA, Netflix, Amazon Prime Video, Xbox Game Pass

Charts: 2
Pages: 11
Words: 1,590

Includes Synopsis, PDF, Slides and Dataset

Added on 27th March, 2018 by Zach Fuller

The 20,000 Foot View: As the music industry becomes a streaming industry in all but name, Spotify’s 100 most streamed tracks provide a window into how the overall industry has changed since the advent of access over ownership. Although arguably just a snapshot of an era, a comparison between the two reveals recent trends within music pertaining to genre popularity and collaborative efforts versus solo releases. It also serves as a reflection of how far the internationalisation effect of streaming is influencing the superstar effect — those outlier songs that take over the entire platform.

Key Findings

  • There is negligible difference between the pre-streaming and streaming era distribution of the best performing tracks by artist nationality
  • Playlist growth and consumption means new releases are particularly emphasised on Spotify’s platform
  • Free streaming user penetration averaged X% across some of the world’s most developed recorded markets (USA, UK, Canada, Australia) in Q4 2017
  • Paid streaming penetration was X%
  • X of the top 100 most streamed Spotify tracks were by, or featured, an artist from the US, Canada or the UK
  • Playlist growth flatlined in major music markets in 2017
  • X% of Spotify’s most streamed tracks featured more than one artist, with X% being from solo acts or groups
  • Pop has the largest share of the most streamed tracks, with X% of the total, while dance genres collectively account for X%
  • Hip-hop is also well represented, with X% of the most streamed, while rock now accounts for just X%
  • Streaming skews towards the new as X% of the top streamed tracks were released in the prior three years
  • Streaming has shifted the music business model from one of reach to engagement
  • Playlists are creating a hits dichotomy: superstar hits are bigger than ever and other hits are over-boosted in the short term before quickly disappearing

Companies and brands mentioned in this report: Ableton Live, Apple, Apple Music, DatPiff, Deezer, Logic Studio, Soundcloud, Spotify, Universal Music

Charts: 3
Pages: 13
Words: 2,279

Includes Synopsis, PDF, Slides and Dataset

Added on 26th March, 2018 by Mark Mulligan

The 20,000 Foot View: This report is a write up of key themes from one of MIDiA’s 2018 keynotes looking at the key trends, innovations and disruptions that will shape media and technology over the coming years. The full presentation is published online alongside this report.

Key Findings

  • Much of the vast amount of content, brands and experiences built for Gen Zs (digital’s ‘Baby Boomers’) are a product of the VC bubble, which will contract when the tech majors are regulated
  • The tech majors (Alphabet, Amazon, Apple, Facebook) each dominate their respective markets—a sign of overall market immaturity
  • Regulation of the tech majors could result in forced spin offs of divisions such as YouTube, Instagram and Prime
  • The FCC’s decision to roll back Obama-era net neutrality laws highlights that telcos are becoming the squeezed middle between media and distribution
  • While media incumbents fight a rear-guard action to defend against distribution insurgents, telcos will now start imposing their own rules and tariffs
  • Binge watching reached critical mass fast and is now at the later stage of the growth curve, but playlisting is topping out much earlier and at lower rates
  • Both curated playlists and user generated playlists are flat, indicating that innovation is needed to push adoption further
  • Sports rights are peaking, with the drop in English Premier League domestic rights the first evidence of the impending bubble burst
  • Pay-TV budgets shifting to drama will catalyse the burst, in turn fuelling another content bubble for drama that will also burst at some stage
  • Until then though, TV will enjoy a renaissance period, with unprecedented creative freedom and ever bigger canvases to paint on

Companies and brands mentioned in this report: 21st Century Fox, Alphabet, Amazon, Apple, AT&T, BT, DanDTM, DirecTV, Disney, Facebook, FCC, Instagram, Logan Paul, MySpace, Microsoft, Netflix, PewDiePie, the Premier League, Prime, Sky, Snapchat, Spotify, Sprint, Tidal, Windows Media Player, Zoella

Charts: 5
Pages: 14
Words: 2,330

Includes Synopsis, PDF and Slides

Added on 26th March, 2018 by Tim Mulligan

The 20,000 Foot View: Snap Inc’s Q4 results bookend the company’s dramatic first year of being a publicly listed company. 2017 was the year Snap has had to effectively admit that its rebranding as “a camera company” has, for the moment, failed to deliver—recall Q3’s $X million write down of unsold Snap Spectacle inventory. This precipitated a realignment back to its messaging app origins, with a user experience redesign. It came after a frank admission by co-founder and CEO Evan Spiegel that the app was “difficult to use.” Alongside this revamp has been the increase in programmatic advertising to X% of ad inventory, and a welcome return to significant daily active user growth of X% year-on-year. However, losses continue to escalate, with net losses up by X% quarter-on-quarter which means the stated target of becoming a $X billion annual revenue company before the fifth anniversary of its IPO remains an arbitrary measure of success for Snap.

Key Findings

  • The DAU base grew from X million in Q2 2017 to X million in Q3 2017
  • Year-on-year DAU growth was X%, with an increase of X million DAUs
  • Total revenues increased by X%, from $X million in Q3 2017 to $X million in Q4 2017
  • Total costs declined by X% from $X million in Q3 2017 to $X million in Q4 2017
  • X% of Snap ad impressions are now delivered through its automated auction platform, up from X% in Q3
  • Average revenue per user in Q4 was $X – a X% increase on Q3 revenue

Companies and brands mentioned in this report: Snap Inc, Snapchat, Facebook, Twitter

Charts: 1
Pages: 7
Words: 964

Includes Synopsis, PDF, Slides and Dataset

Added on 21st February, 2018 by Mark Mulligan

The 20,000 Foot View: In December 2016 Mark Zuckerberg announced that Facebook was embarking on a path to become a media company, but a media company unlike any other. More than one year on, Facebook’s metrics are revealing just how important this strategy is going to be for the company’s outlook. In Q4 2017 Facebook reported a slight drop in daily active users (DAUs) in the US and Canada. Although Facebook constructed a compelling narrative for how this was a byproduct of it cleaning up the user experience, the underlying factor is more profound: Facebook’s messaging apps are stealing Facebook’s core audience.

Key Findings

  • In Q4 2017 Facebook’s daily active users (DAUs) fell in some key markets, with a DAU decline of X compared to Q3 in the US and Canada
  • There were X billion monthly active users (MAUs) of messaging apps globally at the end of 2017, up from X billion in 2016 and X billion in 2015
  • Facebook has a X% market share in the global mobile messaging app space
  • X% of Facebook’s user base is using at least one Facebook messaging app
  • Facebook DAUs as a percentage of MAUs fell quarterly from Q1 2017 to Q4
  • X% of Facebook’s user base in these markets is aged 45 and older, while just X% are aged under 25
  • 4X% of Messenger users are aged X-plus while just X% are under
  • Facebook’s policy of increasing content relevance will drive advertiser value, while messaging app features will double down on personal connections
  • Facebook’s video strategy will likely include schedules and programming guides with messaging apps used as audience acquisition funnels
  • Games video aimed at super-mainstream gamers and music video and could be a product bridge to a full premium video offering
  • Nearer term, music will be used to add personal expression to messaging content and communication

Companies and brands mentioned in this report: Facebook, Facebook Messenger, Instagram, Snapchat, Twitch, WhatsApp, YouTube

Charts: 6
Pages: 17
Words: 3,503

Includes Synopsis, PDF, Slides and Dataset

Added on 21st February, 2018 by Mark Mulligan

The 20,000 Foot View: In this report, we present highlights of content trends from MIDiA’s Quarterly Brand Tracker. The survey is fielded in the US, UK, Canada and Australia. This report explores how consumer behaviour evolved between Q4 2016 and Q3 2017 across music, video, games and social.

Key Findings

  • Most streaming music apps saw a dip in weekly active user (WAU) penetration in Q4 2017
  • YouTube lost X percentage points of its music WAUs, dropping to X%, Spotify was down X points to X% while Amazon was down two points to X%
  • At a country level Apple Music was up two points in the UK, while most music apps were up one point except YouTube, which was up X points
  • Most social apps were either X or X in Q4
  • Snapchat’s only growth market was the UK where WAUs were up three points to X%, while Twitter fell X points (also in the UK)
  • Netflix continued its long-term quarter-on-quarter growth pattern, up one point to X% in Q4 17, X points higher than one year prior
  • Leading local subscription video on demand (SVOD) services also gained a point in Q4, reaching an average of X% WAU, with Hulu the highest at X% US WAU
  • Holiday season gifting saw CD buyer penetration temporarily lift one point, while radio continued to decline, down to X% from X% one year prior
  • Streaming activity, including playlists remained X, indicating that playlists may never acquire the kind of reach in music that binge watching has for video
  • Some gaming activity picked up slightly in Q4 2017 but the longer-term trend remains one of secular decline as we near peak in the attention economy

Companies and brands mentioned in this report: Amazon Prime Music, Amazon Prime Video, Apple Music, Deezer, Dubsmash, Facebook, Facebook Messenger, Google Play Music All Access, Hulu,, Instagram, iPlayer, Minecraft, Mobile Strike,, Music Messenger, Netflix, Now TV, Pinterest, Snapchat, Snap Inc, Soundcloud, Spotify, Stan, Tidal, Twitter, WhatsApp, YouTube


Charts: 6
Pages: 11
Words: 1,669

Includes Synopsis, PDF, Slides and Dataset

Added on 21st February, 2018 by Zach Fuller

The 20,000 Foot View: With playlists representing streaming’s lingua franca, the dramatic shifts in consumption they are powering are rewriting the rule books on music marketing, music formats and revenue generation, all in one swoop. Though the rate of change is partially offset by the grandfathering of the download format and, in certain cases, the resistance of physical markets (Germany and Japan), the economics of playlist monetisation is a rude awakening for the industry at large. It has also created notable distinctions in audience consumption habits, meaning expectations in revenue must account for target audience and their format preferences.

Key Findings

  • X% of all streams come from playlists
  • X% of UK subscribers say that playlists are replacing albums for them, while X% say they are using curated playlists more than X months ago
  • Playlist growth rates slowed towards the end of 2017: ‘Creating own playlists’ in Q3 was just X percentage point up on Q1 2017 at X%
  • Beast mode, a work-out playlist, was the fastest growing on Spotify, rising at X% YoY in 2017
  • Global Top 50, the second most followed playlist on Spotify grew X% in 2017
  • X% of paid streamers are listening to playlists compiled by the streaming platform of their choice compared to just X% of free streamers
  • X year olds are most likely to create playlists
  • Just X% of streaming users aged X plus identify as consuming curated playlists

Companies and brands mentioned in this report: Apple Music, Deezer, Spotify, YouTube

Charts: 4
Pages: 15
Words: 2,297

Includes Synopsis, PDF, Slides and Dataset