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Music IP as video content Why music fandom is strategically important for D2C

Report by Tim Mulligan
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20,000 foot view:  Music rightsholders are keen to leverage artist IP in an increasingly competitive direct-to-consumer video landscape, where appealing to silver streamers is a strategic play to minimise churn in an era of peak video subscriptions. The monetisable emerging long tail of video streaming, combined with the transformation of music IP into a content asset, has created the opportunity for the leveraging non-music IP for video audiences to build a new revenue stream that is free from the pre-digital constraints of the music industry. For video streaming services, the opportunity primarily resides in replicating the proxy sports appeal of Drive to Survive – creating zeitgeisty content assets to appeal to music fans without the rights constraints of traditional music assets.

Key insights

  • The evolution            streaming audiences is driving increasingly            content commissioning
  • Squid Game has            the viability of niche zeitgeisty            with meme-able content assets
  • This is            while we are entering peak            subscriptions, at            in major English-speaking            in            2022
  • Video, thus,            music as part of its            to retain recently acquired mainstream           
  • With music            a digital-entertainment asset, there is            for music IP to be            to create digitally-native, non-recorded music           
  • BBC iPlayer’s            in streams for Glastonbury 2022            versus 2019, demonstrates the increased            for live streaming among post-            consumers
  • Netflix’s Drive to            how new adjacent fandom can            created from legacy brand IP            crucial to both video and            as we move into the            fusion era
  • Music video            has its own sub-genres: live            concert footage, biopic, scripted drama,            documentaries. All of which can            act as stand-alone pieces or            mutually supporting content packages for            music fandom in           

Companies and brands mentioned in this report:             Mile,            Street Entertainment,            Century Studios, BBC iPlayer, Beyonce, Bohemian Rhapsody, BTS, CD Projekt Red, Disney, Disney Music, Drake, Dr Dre, Drive to Survive, Dua Lipa, Endeavor, EMI, Eminem, Encanto, Epix, Glastonbury, Hip Hop My House, Homecoming, Lady GaGa, Liberty Media, Metallica, MTV, Netflix, Oliva Rodrigo, Paramount, Qwest TV, Regency Enterprises, Rocket Man, Sandbox Productions, Sheryl Crow, Sony Music Entertainment, Showtime, Squid Game, Spotify, Stranger Things, The Dirt, The Witcher, Tony Bennet, Universal Music Group, Vevo, Vital Signs, Warner Music Group, X-Factor