{"id":973588,"date":"2019-11-18T16:19:02","date_gmt":"2019-11-18T23:19:02","guid":{"rendered":"https:\/\/www.rollingstone.com\/?p=914029"},"modified":"2019-11-18T16:19:02","modified_gmt":"2019-11-18T23:19:02","slug":"sure-streamings-transformed-the-music-business-but-whats-next","status":"publish","type":"post","link":"https:\/\/alwaysmountaintime.com\/kfmu\/music-news\/sure-streamings-transformed-the-music-business-but-whats-next\/","title":{"rendered":"Sure, Streaming\u2019s Transformed the Music Business. But What\u2019s Next?\u00a0"},"content":{"rendered":"<div><img decoding=\"async\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2019\/11\/paley-center-Hrivnak.jpg\" class=\"ff-og-image-inserted\"><\/div>\n<p>The fortunes of the global record industry can be neatly summed up in three stats: Its peak came in 1999, back when Ricky Martin was&nbsp;Livin\u2019 La Vida Loca, as the world\u2019s record companies generated nearly&nbsp;$29 billion; by the close of 2013, according to IFPI data, that number had been slashed in half, falling to below&nbsp;$15 billion; and last year, thanks to growth almost entirely driven by streaming, it had recovered to just over&nbsp;$19 billion&nbsp;\u2013 an upswing from the industry\u2019s nadir, but still roughly $10 billion off the peak of the CD boom.<\/p>\n<p>Goldman Sachs, for one, believes the best is yet to come: it forecasts that, by 2030, the worldwide record business will be generating $41 billion \u2013 with $28 billion from streaming, from over 1 billion paying music subscribers. Getting to that point is an exciting prospect, but record labels won\u2019t achieve it by standing still: for example, according to a presentation given by Sony Music to parent Sony Corp. in May, the firm\u2019s number of annual artist signings soared by 93% between 2015 and 2018.<\/p>\n<p>The evolution of the <a href=\"https:\/\/www.rollingstone.com\/t\/music-business\/\" id=\"auto-tag_music-business\" data-tag=\"music-business\">music business<\/a> and its future challenges were tackled in a rare and insightful interview with two music industry leaders at The Paley Center For Media in New York last Thursday: Warner Music Group\u2019s global CEO, Steve Cooper, and Facebook\u2019s Head of Music Business Partnerships &amp; Development, Tamara Hrivnak.<\/p>\n<p><!-- .l-article-content__pull--left --> <\/p>\n<p>Cooper\u2019s business, which works with talent like Ed Sheeran, Lizzo and Dua Lipa, turned over a record $4 billion-plus in 2018. Yet when Cooper took up the role in 2011, the same year Spotify launched in the U.S., things looked rather different: a then-piracy-hit WMG was telling investors that \u201cthe recorded music industry has been declining and may continue to decline.\u201d<\/p>\n<p>Hrivnak joined Facebook in early 2017 from YouTube. She has since spearheaded global licensing deals with an array of multinational music companies, enabling the launch of products like music \u2018Stickers\u2019 on Instagram and Facebook, plus Facebook\u2019s karaoke-like feature, Lip Sync Live.<\/p>\n<p>Cooper and Hrivnak\u2019s interview at the Paley Center fell on influential ears: attendees\/speakers at the two-day conference also included two former U.S Secretary Of States \u2013 Henry Kissinger and James Baker \u2013 plus the director of the FBI, Christopher Wray, and media heavyweights like James Murdoch, Shari Redstone, Netflix COO Ted Sarandos and Verizon CEO Hans Vestberg.<\/p>\n<p>Here are three key predictions made by Cooper and Hrivnak:<\/p>\n<ol>\n<li><strong>Augmented Reality Will Be a \u2018New Format\u2019 for the Music Business<\/strong><\/li>\n<\/ol>\n<p>The record industry continues to enjoy double-digit annual growth from streaming, with the market expected to post over $20 billion in global revenue in 2020. Yet a question hangs in the air: after streaming, what\u2019s next? What will be the next major innovation in the way fans connect with artists?<\/p>\n<p>\u201cAugmented reality has the potential to be the next format for music, and the reason for that potential [is because] it puts fans at the heart of experiences, and it\u2019s authentic,\u201d&nbsp; Hrivnak said. \u201cIt\u2019s not about pre-produced content \u2013 it\u2019s about something that\u2019s real, and happening in the moment. \u201c<\/p>\n<p>Hrivnak cited Mark Ronson\u2019s \u201cPieces Of Us\u201d video as a recent example that hints at AR\u2019s possibilities. Released in August and hosted as an evolving Instagram Story, it offered fans multiple different experiences using real-time AR effects. The video, noted Hrivnak, encouraged fans to make their own versions of the production using AR tools. \u201cThat to me has a ton of legs,\u201d she added. \u201cIt\u2019s all about authenticity and getting the fans into the magic.\u201d<\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/rz7wcLL344A?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>Hrivnak also nodded to AR-related possibilities created by Facebook\u2019s new Portal TV hardware. She said Facebook is now testing new AR filters which could potentially allow folks to \u201chave a lip sync battle with Nanna, where [you] look like a rap bad-ass and Nanna looks like a rocker.\u201d<\/p>\n<p>\u201cThese kind of experiences really bring something different to the market in a way that celebrates music, but that isn\u2019t just about being top of the charts,\u201d she added.<\/p>\n<p><strong>2. There Is \u201cSubstantial\u201d Opportunity for Growth in the Music Market \u2013 But Streaming Services Must Think Hard About Differentiation<\/strong><\/p>\n<p>Universal Music Group, the biggest music rights company in the world, posted streaming revenue growth of approximately $500 million, year-on-year, in the first nine months of 2019 (though the company posted $611 million growth in the same period the year before.) Cooper is unfazed by such trends, espousing of his confidence in a \u201cnice future for the music business.\u201d<\/p>\n<p>\u201cWhen you look at smart device penetration, or [projected streaming subscription figures], there\u2019s substantial room for our continued growth,\u201d he said.<\/p>\n<p>I asked Cooper which key lessons from his eight years at Warner he would pass on to those working in other entertainment industries \u2013 especially those in TV now experiencing their own streaming revolution. While broadly praising the impact of key digital partners, Cooper noted, \u201cThe streaming offerings in music have not been as consumer-friendly as they could have been\u2026 there isn\u2019t [enough of a] range of options and choices for consumers.<\/p>\n<p>\u201cRight now, there\u2019s a 50 million-track universe and it\u2019s either free or $10 [per month], plus or minus. My view is that if [streaming services were] organized to allow people to choose by genre, or by number of tracks per day, hi-res sound, global [or] local, whatever it is, the music industry and the tech companies would have been ahead [of where they are now] by way of revenue optimization.\u201d<\/p>\n<p>This kind of service differentiation and segmentation will prove crucial if the industry wants to reach its potential in the decade ahead, suggested Cooper. After pointing to Facebook as an example of a tech company doing something different with music licensing, he added: \u201cIn the music [streaming] industry, when one company innovates, all of the others [launch a similar] innovation. What that has done, in certain respects, has been to commoditize the delivery of music. And whenever you\u2019re in a commodity-driven environment, the only differentiator becomes price.\u201d<\/p>\n<p>Speaking of price, Cooper said: \u201cThere is no Led Zeppelin 2.0, there is no Bruno Mars 3.5. Protecting our 70 or 80 years of sound recordings \u2013 this invaluable and irreplaceable IP \u2013 will be critical. \u201d<\/p>\n<p><strong>3. \u201cStorytelling\u201d Will Become Even More Essential for Artists to Stand Out From the Crowd<\/strong><\/p>\n<p>Cooper mentioned a few stats that illustrated the sheer mass of music now being pumped into the leading streaming services by amateur and independent artists. \u201cThere\u2019s 40,000 to 50,000 tracks being uploaded [to Spotify and other services] every single day,\u201d he said. \u201cIt is almost impossible, on your own, to be able to stand out in a crowd like that.\u201d<\/p>\n<p>Surprise: The best way to \u201cstand out,\u201d in Cooper\u2019s view, is signing to a global major record company. \u201cThere are somewhere around 10,000 active artists on [the major labels\u2019 collective] rosters \u2013 the three of us, Universal, Sony and Warner,\u201d he said. \u201cThe estimates I see are that there are 15 to 20 million musicians on YouTube and there are hundreds of millions of kids mimicking or lip syncing musicians on TikTok. \u201cStreaming allows anybody and everybody to upload [music],\u201d he said. \u201cThat has created a canvas of literally unlimited possibilities. Our job is to turn those possibilities into probabilities.\u201d<\/p>\n<p>On the theme of \u201cstanding out\u201d, Hrivnak suggested that Facebook was now performing a sorely-missed function in the world of artist development \u2013 contextualizing artists beyond their music via video-led \u201cstorytelling\u201d.<\/p>\n<p>She said: \u201cFacebook and music share something special \u2013 the ability to bring people together, to connect you to feelings, friends and moments in time. We have a great opportunity to take that superpower and channel it to fill what I see as a gap in today\u2019s digital ecosystem. The streaming age has [generated] all this success, but what you don\u2019t get in that plays and playlists world is: Who is the artist? What\u2019s their story?\u201d<\/p>\n<p>She added: \u201cWe see a future that is video-first and interactive. That\u2019s how community-building can be [achieved], and it makes a whole lot of sense for Facebook and music to build that version of the future together.\u201d<\/p>\n<p> <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/streaming-transformed-music-business-whats-next-914029\/\" target=\"_blank\" rel=\"noopener noreferrer\">via:: Rolling Stone<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The fortunes of the global record industry can be neatly summed up in three stats: Its peak came in 1999, back when Ricky Martin was&nbsp;Livin\u2019 La Vida Loca, as the world\u2019s record companies generated nearly&nbsp;$29 billion; by the close of 2013, according to IFPI data, that number had been slashed in half, falling to below&nbsp;$15 [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[76],"tags":[],"class_list":{"0":"post-973588","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-music-news"},"acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-06-13 19:24:58","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"distributor_meta":false,"distributor_terms":false,"distributor_media":false,"distributor_original_site_name":"KFMU Solar Powered Radio","distributor_original_site_url":"https:\/\/alwaysmountaintime.com\/kfmu","push-errors":false,"_links":{"self":[{"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/posts\/973588","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/comments?post=973588"}],"version-history":[{"count":0,"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/posts\/973588\/revisions"}],"wp:attachment":[{"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/media?parent=973588"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/categories?post=973588"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/tags?post=973588"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}