◎儘管大多數音樂行業在疫情大流行期間都處於沉重負擔，但Nielsen Music/MRC Data的新數據顯示，整個點播串流媒體轉折點仍然相當強勁。
◎Nielsen Music的數據顯示，儘管發生Covid-19大流行，但美國唱片音樂產業2020年上半年的報告仍然保持樂觀：音頻串流比2019年同期（3.61億）增長了16.2％，達到4,200億，根據Nielsen Music/MRC Data.數據。
◎儘管受到封鎖限制，但黑膠唱片的銷量增長了11.2％（到3月12日，唱片銷量增長了45％，141萬張）。由於(Lil Baby)，(The Weeknd)和(Roddy Rich)的新專輯發行，專輯的音頻消費總量（包括專輯和歌曲的銷售以及點閱播放的串流）同比增長9.4％，達到3.612億。
◎根據Nielsen Music / MRC Data分析師，在冠狀病毒發生之前，唱片音樂業務在各個方面都取得了令人鼓舞的成績，截至3月12日，音頻總消費量增長了14.6％，達到1.418億張專輯當量。3月12日的封鎖令讓實體銷售受到打擊，但訂閱串流媒體服務卻是大流行初期的主要受益者，因為人們在家待了大量時間”。
While most of the music industry has taken quite a bludgeoning during the pandemic, new data from Nielsen Music/MRC Data shows that the on-demand streaming corner of the business has remained fairly strong throughout.
Guest post by Emmanual Legrand of Legrand Network
The report card from the US recorded music industry during the first half of 2020 remained positive despite the Covid-19 pandemic: audio streams were up 16.2% to 420 billion compared to the same period of 2019 (361m), according to data from Nielsen Music/MRC Data.
Vinyl LP sales were up 11.2%, despite the lockdown (through March 12, LP sales were up 45%, or 1.41 million units). Total album-equivalent audio consumption — which includes sales of albums and songs, as well as on-demand streams — was up 9.4% year over year, at 361.2 million, thanks to new releases from Lil Baby, The Weeknd and Roddy Rich.
The first quarter to March 12 saw significant fain compared to the previous year with total audio activity up 14.6%, thanks in part of a 20.4% increase in on demand audio streaming. After March 12, audio activity’s growth rate fell to 6.2% and on demand streaming retreated to a 13.8% growth rate. Total albums sales saw a 25.2% drop after March 12 compared to the same period of 2019.
“The recorded music business was celebrating rosy results on all fronts before the coronavirus crashed the party,” according to Nielsen Music/MRC Data analysts, with total audio consumption was up 14.6% to 141.8 million album-equivalent units to March 12. After the March 12 lockdown, “physical purchases took a hit” but subscription streaming services were “the big beneficiaries in the early weeks of the pandemic as people spent an extraordinary amount of time at home.”
The two music genres that gained the most on streaming platforms were country music and children music. Nielsen Music/MRC Data analysts noted that after March 12, 87% of consumers turned to music they usually listened to, and 55% revisited music they hadn’t heard in a while.
Growth of Latin music consumption
Catalogue titles (older than 18 months) took a slightly larger share of on-demand audio streams — 63.1% in the first half of 2020 versus 62.5% in the first half of 2019. “A change of just one percentage point represented a shift in streams from newer to older songs of about 23 million per day and 160 million each week,” according to Nielsen Music/MRC Data.
Meanwhile, the consumption of Latin music in the US has experienced significant growth during the first half of 2020, with a share of the total US music market of 4.09%, up from 3.86% for the same period of 2019, according to the midyear report from Nielsen Music/MRC Data published by Billboard.
Audio consumption of Latin music grew to 14.56 million units in the first six months of 2020, up 15.9% from the 2019’s midyear total. Between the start of the year and March 13, when the country went into lockdown, the average weekly on-demand streamed tracks reached 1.182 billion and fell 3.3% to 1.143 billion for the period onward through July 2.
Emmanuel Legrand is a Washington, DC-based freelance journalist, blogger and media consultant, specialising in the entertainment business and cultural trends. He is currently the US editor for British music industry trade publication Music Week. Over the years, he has interviewed artists such as Peter Gabriel, Charles Aznavour, David Gilmour, Brian Eno, Daniel Lanois, Feargal Sharkey, Salif Keita, Manu Chao, among others, as well as filmmakers (Alfonso Cuaron, Wim Wenders, Ken Russell…), industry leaders (Virgin’s Richard Branson, Universal Music’s Doug Morris and Lucian Grainge, Vivendi’s Jean-Marie Messier, Google’s David Drummond), and a handful of politicians. From 2007 to 2013, he was the conference coordinator for the World Creators Summit, organised by CISAC (the International Confederation of Societies of Authors and Composers). Previously, he was the editor of Impact, a magazine for the music publishing community (2007-2009), the global editor of US trade publication Billboard (2003-2006), and the editor in chief of Billboard’s sister publication Music & Media (1997-2003).