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New Post: Tencent Music, Spotify & Other Streamers Lead Music Stocks as Legacy Broadcasters Fall Short - https://lnkd.in/gpAsHh_B - Music stocks’ performance this week was a microcosm of the entertainment industry this decade, with streaming companies making up the top four performers while legacy broadcasting stocks finished at the bottom of the heap. Chinese music streaming company Tencent Music Entertainment rose 6.0% to $10.95 following the company’s encouraging full-year earnings results on Tuesday (Mar. 19). Although total revenue declined 2.1%, the online music part of the business is booming. Subscription revenue from QQ Music, Kuwo Music and Kugou Music increased 39.1% to $1.7 billion while the number of subscribers grew by 18.2 million to 106.7 million. Tencent Music shares reached a 52-week high of $11.80 on Thursday (Mar. 21) but dropped 4% on Friday (Mar. 22) following news that Zhenyu Xie, president/chief technology officer, tendered his resignation. Xie will be replaced on the board of directors by CFO Shirley Hu.  Related Why Are IFPI & MIDiA's 2023 Revenue Figures So Far Apart? The Answer Lies in… 03/22/2024 Spotify gained 3.9% to $264.95, bringing its year-to-date improvement to 41.0%. On Tuesday, the streaming company released its fourth annual Loud & Clear report, a breakdown of the prior year’s royalty payouts. In 2023, the number of artists who received at least $10,000 from Spotify increased 16% to 66,000 — 2.7 times more than the number who received that much in 2017. The number of artists who earned $1 million or more from Spotify rose 18% to 1,250.  Two smaller companies posted even larger gains. Anghami shares rocketed 56.8% to $1.74 this week and reached as high as $2.20 after a regulatory filing revealed that Saudi media company MBC Group had amassed nearly a 14% stake in the Abu Dhabi-based music streamer. The investment helped give Anghami some breathing room after the Nasdaq warned in October that the stock faced delisting for closing under $1 for the prior 30 days. Anghami closed below $1 from Feb. 1 to Mar. 7 but has closed above $1 since Mar. 15.  LiveOne jumped 10.9% to $2.04 after announcing on Monday (Mar. 18) that it expects record quarterly revenue with the help of increased Tesla sales, 30 new podcasts and more than $2 million in monthly recurring revenue from clients in its B2B streaming business. Additionally, the company revealed that it repurchased $250,000 worth of stock in the previous 30 days and extinguished $3 million of payables of PodcastOne, the podcast company it spun off in September 2023.   Streaming companies’ gains helped the Billboard Global Music Index rise 1.3% to a record 1,719.66 t

New Post: ’25 Years of LAMC: Latin Music’s Past, Present & Future’ Panel: 5 Best Quotes - https://lnkd.in/g3pubeDS - The Latin Alternative Music Conference (LAMC) continues to highlight pivotal voices in the Latin music industry, as shown in its panel 25 Years of LAMC: Latin Music’s Past, Present & Future. In this discussion on Thursday (July 11) at New York’s InterContinental Hotel — which featured prominent music industry executives — the panel focused on the evolution of Latin music over the past quarter-century, capturing key trends and projecting future developments. Moderated by Billboard‘s Leila Cobo and presented by MTA, the panelists included Alex Gallardo of Sony Music Latin, Polo Montalvo of La Buena Fortuna, Luis Dousdebés of The Latin Recording Academy, Bruno del Granado of CAA, and Jason Pascal of The Orchard. Cobo posed hard-hitting questions about the evolving landscape of the Latin music industry, and whether the expansion of Latin music is more influenced by streaming technology, cultural shifts or demographic changes. She also delved into the nature of music contracts and artist development priorities in the current digital age. Here are some of the best quotes from the 25 Years of LAMC: Latin Music’s Past, Present & Future panel at LAMC 2024: Polo Montalvo of La Buena Fortuna, on the opportunities and challenges in the industry: “Not everyone has the same success in streaming, live or on social networks, to capitalize on each one and see how it helps us reach other places. A lot of times when we talk about and see success, we think of big artists — but there are a lot of people here who are just starting out and don’t have the access that those big artists have. For example, with , I have some tools with them that have developed over time, because of different relationships, agreements and situations in their career. But when you start, you don’t have that availability. So, for me, it’s crucial to see how we can help all the producers and artists that are here — that if they come to this panel or to the event like LAMC, to look at how we can support them, considering that more than 90% are starting out.” Jason Pascal of The Orchard, on adapting global strategies: “The changes and transformations are clearly seen in the growth of the business as a whole and the explosion of Latin music. At The Orchard, this was our plan from the start; we were global 20 years ago, when there wasn’t any money being made. There are people who are still with us now who were with us back then, like Laura in Argentina and Albert in Spain. They believed in this model and worked for us, and maybe made $3,000 in an entire year from their work at The Orchard. The plan was to have people on the ground all over the world, to be ready when streaming exploded. So, the fact that st

New Post: Downtown Music Holdings Board Exploring Sale - https://lnkd.in/gsnSExnM - The board of Downtown Music Holdings, the parent company of independent distributors CD Baby and FUGA as well as a number of other publishing and rights administration businesses, is exploring a sale, sources familiar with the deal tell Billboard. Related Labels Competing With Distributors Creates More Options for Creators  03/15/2024 The publishing administrator for the catalogs of John Lennon and Yoko Ono, Miles Davis and the Wu-Tang Clan, among many others, Downtown has held talks with private equity firms and at least one major music company, as its longtime backer, the family of the late Douglas Myers, looks to exit its investment, according to two of those sources who spoke on condition of anonymity because the talks are private. The fast-growing independent sector of the music industry has seen a flurry of dealmaking activity in the past year, as both outside investors and traditional music companies shop for ways to control more of the market that services and distributes the music of do-it-yourself artists, songwriters and indie labels. In June, the consortium composed of Denis Ladegaillerie, EQT and TCV bought 95% of the outstanding shares of of French music company Believe after Warner Music Group backed out of an acquisition bid the major floated earlier in the year. Later that same month, the Chicago-based private equity firm Flexpoint Ford bought a stake in Create Music Group for $165 million. Last year, Apple veteran Larry Jackson raised about $1 billion and purchased distributor Vydia as the engine to launch his new company gamma, while Exceleration Music bought indie distributor Redeye for an undisclosed sum. Downtown declined to comment on a possible sale beyond an emailed statement that said, “There has always been strong market interest in and excitement for our platform. We remain steadfastly focused on serving our clients and expanding our business by continuing to drive innovation across the global music industry.”   The market share of recorded music revenue generated by labels and artists that release music outside of the major-label system has been growing globally for around a decade. Non-major labels and self-releasing artists’ collective share of the recorded music revenue market grew from 28.6% in 2015 to 36.7% in 2023, according to research by MIDiA. Founded by Justin Kalifowitz in 2007 as a publisher in New York, Downtown quickly grew into a global company with more than 20 offices around the world, and its scale makes it among the more attractive acquisition targets in this segment of the music industry. It r

As more and more music is released, and breaking artists on label-friendly deals gets harder and harder, majors are turning increasingly to catalog acquisitions for durable revenue streams. We don't know what rights Sony Music Entertainment is trying to buy (simply re-upping master rights they already have? Are they acquiring former Universal Music Group rights? Both? Are they buying publishing?), but this is Pink Floyd. They are cultural icons - and Sony Legacy, the label's catalog division - are experts in exploiting heritage IP for even more money. If this deal happens look out for the Pink Floyd biopic coming in 2026. Even if Sony has to overpay and the multiple isn't ideal, it's better to have this asset you can count on, rather than relying solely on the roulette wheel that is frontline a&r. #musicindustry #musicbusiness #catalog #musicfinance

Getting signed by a record label can feel like hitting the jackpot in the music world—and for good reason! As an indie musician, you juggle everything from marketing and promotions to performing and collaborations, and it can become overwhelming fast. The music industry is as much about the business as it is about the music, isn’t it? Thus, getting backed by a label can help you take care of the immense pressures of the music business and focus on what you want to create. But before you start writing your Grammy speech, there’s one big thing to sort out: The Record Deal.   We’ll be taking a look at the following: What are the Various Types of Record Deals? How Important is The Contract? What are Advances and Royalties? Why is the Duration Important in the Deal? What does Exclusivity mean in a Record Contract? Is the Deal Ensuring You Your Creative Freedom? How are Copyrights Crucial in a Record Deal? Read our full article here: https://lnkd.in/gQ2G5MNx

Great read Eamonn Forde, and yes, the totally arrogance of the big labels killed music in return for their share prices going up for last 15 years based on streaming’s double digit growth. Well the growth has all but stopped now and the big 3 are looking for new revenue streams. So all of a sudden, superfans are important, as if they were never the life blood of the industry in the first place! You’d be amazed at the enquiries and signings we have made in the last 3 months compared to the last few years. I’m getting meetings coming FROM labels asking how they can harness superfans with our FanCircles platform. That never happened once in the previous 7 years. And they are trying to get to us before the artists do, so they can take their cut. I hope the music industry follows the needs of the business of making music now. Because the message we have been indoctrinated into thinking for the past decade plus, is that streaming networks are the only way. Totall bullsh*t. They have only benefited the labels with the rights to 45 years of backcatalog, and product placement driving art and artists. That, is not the music industry I want to be in.

In H1 2024, Duetti surpassed BMG - The New Music Company - one of the largest music companies in the world - in terms of the value of our investments in music catalogs. BMG’s latest financial disclosure shows the extent of their pull back from large catalog acquisitions - from an average monthly investment of over $30m in 2022 to less than $10m in H1 2024 (close to ~75% drop (!)). BMG’s pullback is driven by two key factors: (i) catalog buyers are now a lot more disciplined following the end of the super low interest rates in 2022; and (ii) value is gradually shifting into a larger group of artists, beyond the immediate focus and access of large corporates such as BMG. We continue to expand our presence and offer more financial options to an expanding group of artists.

My Last Revenue from My Music This month's revenue is better than the last 2 months. YouTube channel without monetization How to make money by distributing your music, DM to learn #earnmoney #earn #music #musicdistribution #musicproduction #musicproducer #musicbusiness

Why do independent record labels matter? Independent record labels are the unsung heroes of the music world, driving nearly 40% of the global recorded music market. Think of them as the indie filmmakers of the music industry—fearless, innovative, and ready to champion the next big sound before anyone else catches on. These labels are the reason we have such a rich, diverse music landscape, giving rise to genres and artists that mainstream labels might overlook. Without them, we wouldn’t have discovered talents like Adele and Radiohead, who started their journeys with indie labels before taking the world by storm. But it’s not just about the music; it’s about the economy, too. Independent labels are fueling local scenes, creating jobs, and contributing to a $20 billion industry that’s growing faster than ever, thanks to their ability to harness digital platforms and direct-to-fan connections. They’re the lifeblood of cultural innovation, setting trends that eventually ripple through the entire industry. So, when you think about what’s shaping the future of music, remember—it’s not just the big players. It’s the indies, breaking boundaries and redefining what’s possible. Keep track of the music you love! #IndependentMusic #MusicIndustry #IndieLabels #MusicInnovation #ArtistDevelopment #DigitalMusic #MusicMarketing #CulturalImpact #MusicBusiness #MusicTrends #MusicEconomy #IndieArtists #MusicDiversity #CreativeIndustries #MusicCommunity