Key insights from this blog: MIDiA's latest audio report, ' The audio creator opportunity ' , argues that brands and platforms can no longer afford to neglect audio creators Audio creators are a fast-growing force in the creator economy, driving demand for better tools and marketing They are more likely to run their work as a business and invest heavily in creator tools, presenting a clear opportunity for tailored solutions With most tools designed for video and music, companies that develop end-to-end platforms for audio creation can unlock a valuable market and empower this expanding community The creator economy is evolving rapidly, and while TikTok influencers and YouTubers often steal the spotlight, there is a fast-growing creator segment that brands and platforms can no longer ignore: audio creators.

Key insights from this blog: The second installment of MIDiA's "DNA of a hit" blog series looks at how the hits on Billboard's Top 10 chart have changed in the last five years Key MIDiA data highlights the struggles for songwriters and the importance of YouTube for music consumption We predict that the charts in 2030 will reflect the increasing fragmentation of consumer behaviour Almost five years ago, MIDiA published “How the DNA of a hit has changed over 20 years” , examining structural differences between the Billboard Top 10 tracks of July 2000 and July 2020.

MIDiA has just released its annual recorded music market shares report. Clients can access the full report and the accompanying massive (!) data set here . For the rest of you, here are some highlights from the report.

Key insights from this blog: There is ample opportunity for the games industry to leverage music to its advantage Key MIDiA data highlights that real-world live concerts using game music AND artists recording original music specifically for games are two underutilised strategies The music industry is not leveraging games as well as it could, but there is some low-hanging fruit – backed up by case studies – that should change that.

Key insights from this blog: This International Women's Day, celebrations of women's accomplishments were overshadowed by industry developments and political decisions Women are consumers too – it is in businesses' best interest to give women access to the rooms where the decisions about events, products, and advertising aimed at them are made MIDiA's findings from the landmark ' BE THE CHANGE ' report further highlight the issues for women in music (that urgently need to be addressed by the industry) This weekend saw the celebration of International Women’s Day.

TV shows, movies, and social creator content are lane hopping in search of engagement. It is common practice now for SVOD services to distribute one or several episodes for free on YouTube and TikTok in the hope of transforming social video viewers into SVOD subscribers.

We are proud to have launched our new gamer segmentation , which focuses on motivations, attitudes, and underlying reasons behind gaming behaviours. This article zooms in on some key data and insights from our segmentation, based on both qualitative and quantitative data.

In 2022, MIDiA introduced scenes as a new playbook for music marketing . As entertainment consumption fragments, what was once a singular “mainstream” is being replaced by hundreds of thousands of smaller scenes, or subcultures – like gorpcore, hyperpop fans, or retro gamers.

Throughout 2023 and into 2024, you might have thought the sky was falling for podcasting. Layoffs and show cancellations had many in the industry wondering if there would be any financial future for the format.

In English-speaking markets (and much of Europe), entertainment consumption is split across a large number of digital platforms, segmented largely by content format, rights access, and legacy uptake. It is also fragmented across devices: smart TVs, smartphones, laptops, and consoles all play big roles in their respective niches.

Netflix’s Drive to Survive did more than introduce a new entertainment layer for sports fans. The F1 docuseries provided a framework for re-igniting and nurturing fandom. Before then, sports documentaries would have been considered ‘spin-off’ content.

As entertainment consumption fragments, superstars dominate less, with fans gravitating towards ever-multiplying niches. This trend, alongside the maturation of streaming subscription growth, is driving record labels’ renewed focus on nurturing – and monetising – core bases of superfans.

In the battle of music streaming versus social, the major (at least Western) music streaming services have never fully committed to implementing social features. Spotify has come the closest: an early version offered direct messaging, and the company even acquired a handful of social media-related startups in 2016.

As we covered in August 2024, the future of AI-generated audiobooks is here. Up until this month, however, streaming platforms themselves had yet to fully embrace AI audiobook narration. Now, Spotify has announced their support for ElevenLabs ’ AI-generated audiobook content, paving the way for end-to-end audiobook generation that could capture audiences who demonstrate no clear preference between AI- and human-generated content.

YouTube’s growing strength on smart TVs is a head scratching moment for the video industry. The social video platform recently revealed that US consumers watched 1 billion hours of YouTube content daily on their smart TVs in December 2024.

The attention economy is oversaturated. Games are not just competingwith other games but with TikTok, YouTube, Netflix, and well ... life. But the games industry – especially premium games on console and PC – has a unique twofold challenge: Supply : New AAA games can take five years or more to make (and often have budgets in the hundreds of millions) Demand : Player attention and play time are already maxed out MIDiA’s consumer research for Q4 2024 underlines just how little time consumers have to play.

Last week saw a major AI copyright case judgement in the US – and it fell in favour of human creators. The case stems all the way back to 2020, when Thomson Reuters sued the legal AI startup ROSS Intelligence, alleging that it reproduced Reuters’ legal research to create a competing, AI-powered legal platform.

Music is expensive – not for consumers, but for companies who have to license music copyrights from rightsholders. It is a large reason Spotify did not have a full year of profitability until 2024 . What helped the company get there? Podcasting.