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On Spotify, the most active service, with the youngest customers, it’s 5-10%. What about the vaunted company generated playlists. It’s higher on Amazon, 5-10%, but that’s mostly about calling out to Alexa and…
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That accounts for 0 to 5% on Spotify, YouTube Music and Apple. In other words, listening on Spotify is between 60 and 80% user-driven, user choice, user selected. The bottom line, on Spotify, the biggest streaming service with the most active customers, meaning they stream the most music, 50-60% of listening is done via USER CURATED PLAYLISTS! What that means…well, you know what it means, you build your own playlist and listen to it, as opposed to the ones proffered by Spotify.Īnd 10-20% of listening on Spotify is NON-PLAYLIST! Yes, all the bitching is how you can’t get on playlists. THE POWER OF PLAYLISTS IS WAY OVERSTATED! If you study the table, and you should, you should click through, you’ll learn… You can see the table with surrounding analysis from MusicAlly here: So, the above is mostly a footnote to insiders, but buried in the CMA statement is a chart on streaming services, now THIS is interesting: It’s just like politics, you can live in a bubble, you can avoid hearing the truth, if the facts don’t align with your feelings, they must be untrue!
![amazon music playlist amazon music playlist](https://images-na.ssl-images-amazon.com/images/I/51J9675+EbL._AC_US190_.jpg)
Where elected officials grandstand with no knowledge of the underlying business and nothing changes anyway.īut if you pay attention to the business, you know all of the above. This is vastly different from a hearing in the U.S. Sure, the study might ultimately recommend adjustments, but a wholesale investigation into abuses by the DSPs and the major labels…the CMA believes it’s unnecessary. government held hearings, and ultimately found…there were no major problems. “While the majors’ profits have been increasing since the lows of piracy, the current evidence does not suggest that market concentration is allowing the majors to make sustained and substantial excess profits.”Īnd, it puts a stake in the heart of the publishing complaint, saying revenues have gone from 8% in 2007 to 15% today, although there was a slight dip between 20, but this was as a result of the increase of the DSPs’ share, not that of a rights holder. This, coupled with the fact that there is only a finite amount of music a consumer can listen to and a relatively fixed pot of revenue from streaming, inevitably reduces the amount that most artists can earn, even with increased royalty rates”īut it gets even worse for the naysayers: “There has been a huge increase in the number of artists sharing their music and a vast back catalogue made available via streaming. The study that was initiated six months ago will be completed, but as for the heinous streaming payouts small labels and players themselves have been complaining about: And now they say there’s not going to be a market investigation. Needless to say, the songwriters, the indies, are up in arms. You may or may not be aware of the CMA announcement yesterday.