每週統計:UNIVERSAL MUSIC GROUP 61%的收入 來自當地藝人

  • 流覽次數:: 6
  • 分類: 產業區
  • 分享次數:
  • 作者: 音樂地圖
    • 202010/1405:23

    ◎隨著串流媒體在全球行業中的地位不斷提高,一件有趣而出乎意料的事情正在發揮作用:與遍布全球的巨星相比,當地藝人的成功,正在成為音樂業務中越來越重要一部分。MBW在「UNIVERSAL MUSIC GROUP」最新報告中的統計數據,顯示了這一點。
    ◎根據「UNIVERSAL MUSIC GROUP」母公司Vivendi的2019年度報告,當地藝人在該地區出售的商品,佔去年UMG收入的61%。去年UMG的收入中只有39%來自非本土藝人。
    ◎回顧以前的Vivendi年度報告,可以發現這是一個真正的趨勢。Vivendi表示, 2018年,國家當地藝人的作品佔UMG銷售額的近60%;2017年,這一數字為59.4%; 2016年為59.0%。當地藝人在本土市場上的力量顯然正在逐漸增強。
    ◎另據法國當地市場監測機構SNEP指稱,去年歐洲國家最成功的20張專輯中,約有19張是由法國(尤其是講法語的)藝人發行。SNEP說,在今年的前200張專輯中,法國藝人佔80%。
    ◎Vivendi的數據顯示,UNIVERSAL唱片公司去年與近60個國家/地區的當地藝人簽約,以44種語言錄製專輯。UNIVERSAL唱片公司2019年收入的61%來自當地藝人。而且,即使在2020年,這種投資似乎也沒有停止。僅在過去一個月中,就看到UNIVERSAL唱片公司在日本推出TuneCore競爭對手Spinnup,並透過在摩洛哥和以色列開設當地總部,擴大中東和北非的團隊,而UMG旗下的分公司Ingrooves快速擴張到土耳其。
    ◎此外,Sony Music上個月在法國推出Epic Records,與娛樂和品牌代理機構「Celebrity Services Africa(CSA)」簽署合資協議,以在非洲發展更多的藝人,並通過聘請ÖzdenBora來加強土耳其業務。Warner與Universal最近都通過與當地的合作夥伴關係,為印度旁遮普音樂進行了重要演出,而「Warner Chappell Music」在與上海簽署協議的同時,開設了第二個辦事處。
    ◎所有這些現象之所以發生,是因為這些大型公司知道,現代音樂業務可能是全球音樂業務,為贏得勝利,必須以前所未有的方式思考本地化並投資本地化。

     

    詳細內文:

    MBW’s Stat Of The Week is a new series in which we show why a single data point deserves the attention of the global music industry. Stat Of the Week is supported by Cinq Music Group, a technology-driven record label, distribution, and rights management company.
    The modern music business, as leading executives are often reminding us, is the global music business.
    Hits can come from anywhere in the Spotify era, goes the logic. Even language is no longer a barrier to international success in a post-Despacito world.
    Yet here’s the funny, unexpected thing that’s playing out as streaming increases its stranglehold on the global industry: the success of local artists, in local territories – in contrast to globe-spanning superstars – is becoming an increasingly important component of the music business.
    So much so, that local consumption of local artists is comfortably generating the majority of prosperity for the blockbuster record industry as we stand today.
    That’s the indication from some under-discussed statistics, spotted by MBW, in the latest company report of Universal Music Group (via its parent Vivendi).
    According to Vivendi’s annual report for 2019, local artists (i.e. artists from a certain territory, selling / being streamed in that territory) accounted for 61% of UMG’s revenues last year.
    To flip that on its head, just 39% of UMG’s revenues last year were generated by the consumption of music outside of an artist’s home territory.
    Looking back through previous Vivendi annual filings tells us this is a real trend to watch.
    In 2018, says Vivendi, “content by local artists in their own country” accounted for nearly 60% of UMG’s sales; in 2017, this number stood at 59.4%; in 2016, it was 59.0%.
    The power of local artists in home markets is clearly creeping up.
    You only need look at France for further evidence: according to local market monitor SNEP, some 19 of the Top 20 most successful albums in the European country last year were release by French (and, what’s more, French speaking) artists.
    Across the year’s Top 200 albums, says SNEP, French artists claimed 80%.
    Vivendi’s data tells us that, last year, Universal was signing local artists in nearly 60 countries, with albums recorded in 44 languages.
    Furthermore, Vivendi states that the fact 61% of Universal’s 2019 revenues were derived from local artists “highlights [UMG’s] ongoing commitment to investing in local talent, infrastructure and skills”.
    It adds: “UMG’s growth stems from its ability to develop its roster of artists with international reach, but also to spot and promote local artists, from young and emerging to best-selling acts. Supporting cultural diversity is integral to UMG’s success.”
    And, even in 2020 – an abnormal commercial year, for obvious reasons – this kind of investment doesn’t appear to be letting up.
    In the past month alone, we’ve seen Universal launch its TuneCore rival Spinnup in Japan, as well as expanding its team in MENA by opening local HQs in Morocco and Israel, while UMG-owned distribution company Ingrooves has continued its own rapid global expansion by arriving in Turkey.
    Elsewhere, amongst other key international moves, Universal has this year struck a partnership with Nigeria’s Aristokrat – adding to UMG’s own presence in the market – and launched Def Jam Africa, following the launch of Def Jam South East Asia in September 2019.
    Naturally, Universal isn’t alone in its strong investment in regions outside of the US and the UK.
    For example, in the last month, Sony Music has launched Epic Records in France, inked a JV with entertainment & brand agency Celebrity Services Africa (CSA) to develop more artists in Africa, and bolstered its presence in Turkey with the hiring of Özden Bora as local MD.
    Additionally, to pick just a few examples, Sony/ATV has launched in India – where both Warner and Universal have recently made major plays for Punjabi music via local partnerships – while Warner Chappell Music has opened a second office in Shanghai, while inking an agreement with NetEase Cloud Music in China.
    The list goes on (a few more: UMPG expanding in China; Downtown buying Sheer in South Africa; Kobalt entering the Indian publishing market via Turnkey; Warner investing in Africori).
    All of this activity is taking place because these large-scale companies know that, paradoxically, the modern music business might be the global music business, but in order to win, you have to think local – and invest local – like never before.
    Cinq Music Group’s repertoire has won Grammy awards, dozens of Gold and Platinum RIAA certifications, and numerous No.1 chart positions on a variety of Billboard charts. Its repertoire includes heavyweights such as Bad Bunny, Janet Jackson, Daddy Yankee, T.I., Sean Kingston, Anuel, and hundreds more.

     

    Musicbusinessworldwide
    https://bit.ly/3jx7EjB