Reports Video

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

Report by Tim Mulligan
Cover image for Music IP as video content
Synopsis PDF PowerPoint Excel

Our clients have full access to all of our reports. Clients can log in to read this report. Click here to become a client or, you can purchase this individual report.

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 of streaming audiences is driving increasingly diverse content commissioning

  • Squid Game has proven the viability of niche zeitgeisty shows with meme-able content assets

  • This is occurring while we are entering peak video subscriptions, at        in major English-speaking markets in        2022

  • Video, thus, needs music as part of its pivot to retain recently acquired mainstream subscribers

  • With music being a digital-entertainment asset, there is scope for music IP to be leveraged to create digitally-native, non-recorded music assets

  • BBC iPlayer’s        increase in streams for Glastonbury 2022 coverage, versus 2019, demonstrates the increased demand for live streaming among post- lockdown consumers

  • Netflix’s Drive to Survive shows how new adjacent fandom can be created from legacy brand IP – crucial to both video and music as we move into the media fusion era

  • Music video now has its own sub-genres: live streams, concert footage, biopic, scripted drama, and documentaries. All of which can either act as stand-alone pieces or as mutually supporting content packages for driving 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

Unlock critical media insight and intelligence for competitive advantage

Our clients have full access to all of our reports. Become a Client

Already a client? Login to read this report

Or, purchase this individual report

Purchase this report