Reports: Taylor Swift

Browse all of our reports, featuring our analysts' expert insights and analysis of audience segmentation, emerging trends and technologies, value chains, market shares, predictions and more – backed by our proprietary survey data and bespoke models & forecasts. Become a subscriber to get new ones every month, or just pick one to get started.

Cover image for Defining entertainment superfans

Defining entertainment superfans
Characteristics, categories, and commercial impact

Olivia Jones and Laura Fisher

15 Sep 2025

France Australia Spotify

Superfans represent a highly valuable yet consistently underleveraged audience segment for the entertainment industry. What drives this disconnect is the fact that – despite frequent anecdotal use of the term – a standardised, empirical definition remains absent, preventing companies from systematically identifying, nurturing, and monetising th...

Cover image for The fandom eclipse

The fandom eclipse
How fan content is competing with IP

Tatiana Cirisano and Ben Woods

25 Jun 2025

superfan YouTube Netflix

Fan-made content is evolving from a support act to a fully-fledged competitor to entertainment IP. This is creating tension between IP holders and the fan community. Both parties want the IP they love to thrive in a saturated entertainment landscape. This report will unpack whether entertainment IP holders should view fan content creation as an opp...

Cover image for MIDiA’s 2025 predictions

MIDiA’s 2025 predictions
It’s social’s stage now

Mark Mulligan, Karol Severin, Hanna Kahlert, Tatiana Cirisano, Ben Woods, Rutger Rosenborg, Rhys Elliott and Olivia Jones

5 Dec 2024

Apple Spotify YouTube

The creator economy reshaped entertainment in the first half of the 2020s and social wasthe big winner, now positioned at the centre of the entertainment economy. In 2025 wewill see the second-order effects begin to play out, set against the backdrop of attentionsaturation, content commodification, and increased focus on profit.

Cover image for Music merchandise demand

Music merchandise demand
Who, what, and where

Tatiana Cirisano

24 Oct 2024

Consumer behaviour cds Spotify

The music merchandise market has transformed, with significantly more artists selling merch and more product variety than ever before. The traditional line between “hard” and “soft” merch is blurring as new generations buy vinyl as a collectible keepsake, rather than a consumption format.

Cover image for Return to live

Return to live
Post-pandemic music fans

Kriss Thakrar and Tatiana Cirisano

20 Jul 2023

Consumer behaviour live music Music creators

Today’s live music audience skews 45+, with rock concerts and theatres / concert halls dominating sales. Fandom is by far the strongest factor in purchasing tickets, eclipsing price, and location. So, despite challenges like inflation and scalping, most concertgoers plan to attend more or the same number of concerts going forward.

Cover image for Web 3.0 is here

Web 3.0 is here
Navigating the new culture of digital entertainment

Hanna Kahlert

2 May 2023

Spotify YouTube Netflix

AI has already hit entertainment at the industry level – and the impacts on audience culture will not be far behind. A variety of AI tools are now readily available on ‘fremium’ tiers at a consumer level. Companies may be looking towards what the new world of web 3.

Cover image for Music’s Instagram moment

Music’s Instagram moment
The social music creation revolution

Tatiana Cirisano

1 Mar 2023

Consumer behaviour Apple Spotify

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 consumer...

Cover image for Social 2.0

Social 2.0
Social media’s survival of the fittest, and how marketers fit in

Ashleigh Millar

21 Dec 2022

YouTube Netflix Facebook

The history of social media has long been defined by continual evolution and iteration, but now shifts across the value chain are becoming more substantive, heralding a new era. Social platforms themselves are changing, and so too are the attitudes, expectations, and behaviours of their users, with audiences’ appetites for carefully curated, heav...

Cover image for A field of all levels

A field of all levels
Strategizing music’s attention economy

Tatiana Cirisano

29 Nov 2022

Consumer behaviour Music creators Record labels

Over roughly the past decade, each stage in the evolution of the attention economy accelerated the pace of fragmentation and oversaturation in music, unearthing new challenges for each micro-generation of artists. With all these generations now competing in the same playing field, artist strategy depends strongly on the era in which they rose to pr...

Cover image for Social media marketing is becoming its own cultural moment

Social media marketing is becoming its own cultural moment

Hanna Kahlert and Ashleigh Millar

31 Oct 2022

Spotify YouTube Facebook

Audiences are changing the ways they interact with entertainment, as well as how they respond to advertising and marketing designed to promote it. Audiences are increasingly creative and engage in lean-through behaviours, are less tolerant of ads, and want more authenticity in their digital social lives.

Cover image for Fandom drivers

Fandom drivers
From fan psychology to NFT demand

Mark Mulligan, Karol Severin, Srishti Das and Tatiana Cirisano

9 Jan 2022

superfan Spotify merchandise

Fandom is entertainment’s growth currency, yet it remains both under-valued and poorly understood. While other entertainment currencies can be accurately measured (number of streams, number of sales, number of views, etc.) it is only the effects of fandom that can be quantified (number of likes / shares, merchandise sales, etc.

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Recovery Economics
Music, Games, Live Streams and the Future of Concerts

Mark Mulligan, Karol Severin and Keith Jopling

11 May 2020

live music live Artists

In April 2020 Travis Scott’s Fortnite event pulled in 27 million players. While this was happening, the global artist community was scrambling to plug the income and engagement gap caused by COVID-19’s cessation of live music, by turning to live streaming.

Cover image for Insurgents and Incumbents

Insurgents and Incumbents
How the 2020s Will Remake the Music Business

Mark Mulligan

24 Jan 2020

Creators iTunes Spotify

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...

Cover image for Artist Fandom

Artist Fandom
The Artist Marketing Playbook Needs Rewriting

Mark Mulligan

19 Jul 2019

Spotify Artists Taylor Swift

The whole essence of fandom is being turned upside down. An emerging crop of streaming native artists is finding its audience in a much more targeted and efficient way than via traditional music marketing. Instead of blowing a huge budget on carpet bombing TV, radio, and print, online artists and their teams are finding their exact audiences by foc...

Cover image for YouTube Disruptors

YouTube Disruptors
The Companies That Aim To Challenge YouTube In Its Second Decade

Tim Mulligan

10 Mar 2015

YouTube Taylor Swift traditional media content producers

YouTube’s supercharged success over the last decade shows signs of having created a monopolistic mindset in the company that leaves it ripe for disruption. Its runaway success as both a content discovery platform and an end destination for video consumption, paradoxically also means it is in danger of becoming a victim of its own success.

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