Reports: Independent artists

Social media has steadily integrated music, and music creation tools have steadily become more social. These trends are converging, accelerated by shifts in consumer behaviour and artificial intelligence (AI). The result could be a new set of music creation and re-creation tools, integrated within social platforms and geared towards casual consumers.

MIDiA suggested in 2020 that 2021 was going to be a strong year for the recorded music market. Indeed, 2021 turned out to be the fastest-growing year in living memory, with growth across most formats – compared to in 2020, when streaming was the only growth segment.

This report presents record label market share that is measured not just by label reported revenues, but also by separating the revenues of independent labels that are distributed by major label groups, in order to give a more precise view of how the independent sector is performing.

Once upon a time, music software and hardware were distinct market segments, but now they are increasingly fusing into a network of hybrid creator tools ecosystems. Standalone hardware still has a vibrant future, but the real momentum lies with software, sounds, services and the hardware that supports them.

The emerging competitive dynamic between insurgents and incumbents is the catalyst for an unprecedented period of innovation in the music creator tools space. However, because this dynamic is underpinned by substantial institutional investment and strong market growth, the second order effect is the further fragmentation of an already congested and oversupplied marketplace.

The second iteration of this project is available to download here . Be The Change: Women Making Music Key insights Gendered expectations have skewed recognition and reward in the music industry: of 401 women creators around the world, 81% think that it is harder for female artists to get recognition than male artists Linked to this is the fact that there are not as many female role models for independent creators (81% agree, 49% ‘agree strongly’) Almost two-thirds of female creators identified sexual harassment or objectification as a key challenge, making it by far the most widely-cited problem Sexualisation and objectification are a consequence (or symptom) of unbalanced power dynamics, as shown by the next ‘big three challenges’: ageism (identified by 38%), lack of access to male-dominated industry resources (36%) and lower pay (27%) These major challenges are symptomatic of deeper issues of systemic male dominance permeating industry attitudes and behaviours; over 90% of our respondents said that they had experienced unconscious bias – nearly half of them frequently Music composition, production and sound has long been connected primarily with men, so it is no surprise that the majority of female creators (63%) feel excluded from the composition and production, which makes this aspect of music creation highly ‘genderized’ Although the overall representation of women in society has increased over the past few decades, 84% of women still feel that there exists a perception that women are expected to take on the primary role of parenting duties.

The global pandemic turned the music industry upside down. While live was decimated throughout 2020, after an initial downturn, the recorded music market returned to growth and finished the year with an acceleration that suggests a strong 2021 lies ahead.

The catalogue race is on Music catalogues are changing hands for serious sums of money. The race to acquire the songwriters’ share is on, and it is speeding up. However, while that race is a sprint, what happens after is a marathon. For the acquirers – Hipgnosis and its cohort of competitors, publishing majors like UMPG or indies like BMG – the return on investment is very much a longer-term game.

Music production has traditionally been, at best, an adjacent industry to the recording business, and at worst simply a cost centre. That is now all changing. COVID-19’s disruption catalysed the already-rapid shift towards affordable production tools and the rise of a new generation of online platforms that are reimagining music production as SAAS-based communities.

2019 was yet another stand-out year for independent artists, with revenues, streams and market shares all growing strongly. Then, along came COVID-19 and the world turned upside down. However, in lockdown many independent artists found new opportunities and the ability to innovate and create.

This deck presents findings from MIDiA's Q2 2020 survey of music artists, assessing the impact on their careers in the wake of the coronavirus. It consists of 13 charts / graphs / table slides. The full report will be available in October 2020....

With five successive years of growth, the recorded music market has transitioned from a recovering industry into a thriving business. The stars are aligning, with growing consumer demand, business model innovation, a golden era for independent artists and surging interest from institutional investors.

As it enters the third decade of the millennium, the recorded music business is in rude health. Revenues are about to enter the second half of a decade of annual growth, streaming is booming, and investment is pouring in. Simultaneously, the fundamentals of the business are changing, from artist and songwriter careers through music company business models to audience behaviour.

This report presents the findings of MIDiA’s 2019 independent artist survey. Companies and brands mentioned in this report: AWAL, BMG Music Rights, CD Baby, Kobalt, Tunecore, Amuse

The rise of independent artists is one of the most important changes to happen to the modern recorded music business. While traditional label models still dominate, ever more artists are pursuing non-traditional alternatives, ranging from self-releasing through to joint-venture label service deals with majors.