APPLE MUSIC正主宰美國嘻哈音樂的發行量(甚至超過您的想法)

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  • APPLE MUSIC正主宰美國嘻哈音樂的發行量(甚至超過您的想法)


    ◎在過去的兩個月中,Apple Music搶占了美國嘻哈音樂串流的一半以上市佔(在某些情況下,超過三分之二)。
    ◎根據Apple Music提供的內部統計數據,該數據揭示了該平台最近在美國排行榜榜首專輯的首周播放次數。依據可信賴的市場監測機構Alpha Data計算的每張專輯的第一周美國點播音頻流總量,檢查Apple的這些記錄的串流計數,該數據由Rolling Stone發布。
    (Drake)的《Dark Lane Demo Tapes》。發布日期:美國2月5日。根據Alpha Data:第一周的點播音樂串流總數2.26億。Apple Music占比:61.5%。
    (YoungBoy Never Broke Again)的《38 Baby》。美國4月24日發行。根據Alpha數據,第一周的點播音樂串流總數為7180萬。Apple Music占比:71.2%
    (DaBaby)的《BLAME IT ON BAB》。美國4月17日發行。根據Alpha數據,第一周的點播音樂串流總數為1.29億。Apple Music占比: 59.3%
    (Tory Lanez)的《New Toronto 3》。美國1月4日發行。根據Alpha數據,第一周的串流總數為6180萬。Apple Music占比: 67.4%
    (Rod Wave)的《Pray 4 Love 》。美國2月4日發行。根據Alpha數據,第一周的串流8130萬。Apple Music占比: 73.6%
    (Lil Baby)的《My Turn》。美國1月2日發行。根據Alpha數據,第一周的點播串流總數為2.23億。Apple Music占比: 68.6
    ◎根據Apple內部的統計數據,追溯到2019年,Apple Music在美國一線嘻哈點播音樂串流的總市場占比為45%。顯然,所有這些流都是優質服務,與競爭對手Spotify不同,Apple Music沒有免費套餐。因此,在此期間,Apple很可能在付費用戶中,搶占了超過50%的一線嘻哈串流。


    Apple Music has claimed more than half – in some cases, more than two thirds – of US streams for a run of blockbuster hip-hop releases in the United States over the past two months.
    That’s according to internal stats that Apple Music provides to its label partners, obtained by MBW, which reveal the platform’s first-week play-counts for recent chart-topping albums in the US.
    We’ve checked Apple’s stream-count for these records against the total first week US on-demand audio stream volume for each album counted by trusted market monitor Alpha Data, as published by Rolling Stone.
    This has enabled us to determine Apple Music’s approximate market share versus its rivals (Amazon Music, YouTube Music, Spotify etc.) in each case.
    Here’s six recent releases that show the trend very clearly:
    Dark Lane Demo Tapes by Drake. Release May 1st, US No.2. Total on-demand audio streams in week one according to Alpha Data: 226m. Apple Music share: 61.5%.
    38 Baby 2 by YoungBoy Never Broke Again. Released April 24, US No.1. Total on-demand audio streams in week one according to Alpha Data: 71.8m. Apple Music share: 71.2%
    BLAME IT ON BABY by DaBaby. Released April 17, US No.1. Total on-demand audio streams in week one according to Alpha Data: 129.1m. Apple Music share: 59.3%
    The New Toronto 3 by Tory Lanez. Released April 10, US No.1. Total on-demand audio streams in week one according to Alpha Data: 61.8m. Apple Music share: 67.4%
    Pray 4 Love by Rod Wave. Released April 3, US No.2. Total on-demand audio streams in week one according to Alpha Data: 81.3m. Apple Music share: 73.6%
    My Turn by Lil Baby. Released February 28, US No.1. Total on-demand audio streams in week one according to Alpha Data: 223.2m. Apple Music share: 68.6%
    According to those internal Apple stats, Apple Music’s share has seen it claim a total market share of frontline hip-hop on-demand audio streams in the United States of 45% dating back to 2019.
    Obviously, all of those streams were on a ‘premium’ service, with Apple Music – unlike rival Spotify – having no free tier. For this reason, it appears highly likely that Apple claimed more than 50% of frontline hip-hop streams on paid accounts in the period.
    Indeed, sources close to Apple suggest the company believes it held a 50%+ weekly US market share of premium hip-hop streams for new releases in 94 out of the last 96 weeks, including an unbroken stream of 82.
    MBW caught up with Apple Music’s Global Editorial Head of Hip-Hop and R&B, Ebro Darden, to ask his view on how a paid-for service like Apple Music could command such a large market-share of US hip-hop streams.
    Although he wouldn’t comment on the numbers we obtained, Darden said: “The cultural part of the question has to do with the efforts of many people over several years in creating partnerships with artists that matter, and creating deeper relationships – whether that’s with Drake, Nicki Minaj, Travis Scott, Frank Ocean or anyone else.”
    He also credited Apple Music’s human-fronted ‘radio’ station, Beats 1, with helping create a “deeper affinity” with music fans, allowing, he said, Apple to “share music, contextualize music and explain why it’s important”.
    Added Darden: “I’ve worked in many aspects of media and a lot of times an artist, or any content creator, walks into a media outlet and the media outlet has their agenda, and the artist or content creator’s message is secondary to that agenda. Inside Apple Music and in Beats 1 we’ve tried our best to align with the artist’s creative agenda, where it’s about them first.”
    Apple Music announced last month that it was expanding into 52 new markets, including a range of territories in Africa such as Algeria, Cameroon, Côte d’Ivoire, Democratic Republic of the Congo, Gabon, Libya, Morocco, Rwanda and Zambia.