According to the MRC Data research, streaming has taken over the music industry, indicating that we have entered the streaming era.
In the first half of 2021, listeners streamed 1.3 trillion tracks from on-demand audio music services, increasing 27.5 percent year over year, according to MRC Data, which included this global figure in its mid-year analysis focusing primarily on the United States. According to the business, Japan was the fastest-growing streaming market this year despite starting from a lower basis than other significant nations.
The MRC Data research highlighted the importance of streaming, which has grown by 27.5 percent year over year, reaching a stunning 1.3 trillion in the first six months of 2021. In addition, his on-demand song streaming (which includes both audio and video platforms) in the United States increased by 10.8% year over year to 555.3 billion played tracks. According to ArtistPush.me number of artists using paid promotion rised in first half of 2021.
The number of album plays increased by 13.5 percent in the first half of 202, to 434.7 million. The overall number of people listening to digital music in the United States increased by 11.6 percent yearly to 396.3 million.
According to the research, Japan is the “fastest expanding worldwide streaming market,” beating Poland, Turkey, the United Kingdom, and Belgium.
In Japan, streaming earnings increased by 27 percent, while physical releases fell by 9%. Surprisingly, according to the MRC Data analysis, “64 percent of music listeners in Japan use free music streaming services… This figure is 88 percent in the United States.”
On some platforms, artists could meet recommendations on how to boost streams
- Use Playlist placement. Getting your song in the playlists will rize your streams up considerably.
- Use recognized song titles or popularized phrases for your title.
- Get creative with the cover art.
- Use your video to promote your song.
- Use affiliate links.
- Obtain the support of music promoters
As streaming grows in popularity, digital music sales continue to shrink year over year, falling 12.5 percent to 190.5 million units. Digital album sales in the United States fell by 26.8% in the first two quarters of 2020, to 12.9 million. However, some albums performed exceptionally well, such as Taylor Swift’s ‘Evermore,’ which sold 374,000 units (digital and physical), and Morgan Wallen’s ‘Dangerous: A Novel,’ which sold 200,000 units (digital and physical). The Double Album’, which went on to sell 241,000 copies.
BTS’s ardent followers also contributed to their remarkable digital sales figures, with singles “Butter” achieving 841,000 digital sales and “Dynamite” achieving 283,000. A total of nearly 1.12 million digital sales have been made.
The MRC Data report also noted a tremendous surge in vinyl sales in the United States, which increased by 108.2 percent in volume to 19.2 million units. This is the platform’s 15th consecutive year of growth. According to the data, vinyl album sales surpassed CD album sales for the first time since 1991.
Meanwhile, Iain Archer, a Songwriter, tells MPs that the Streaming Approach is Unethical
According to an award-winning musician from Northern Ireland, the present music streaming business is “inequitable and unethical.”
In testimony to a Westminster inquiry into the economics of online music streaming, Iain Archer remarked. Run, a hit for both Snow Patrol and Leona Lewis, was co-written by Mr. Archer.
Nile Rodgers, Nadine Shah, Ed O’Brien of Radiohead, and Guy Garvey of Elbow were among the musicians that testified at the hearing.
Paul McCartney, Kate Bush, Robert Plant, and Stevie Nicks have all called on the government to change the way musicians are compensated when their music is played online.
MPs on the Digital, Culture, Media and Sport Committee (DCMS) decided that streaming provided “pitiful returns” for many famous musicians.
They demanded a “whole rethink” to compensate performers and innovators fairly.
Many individuals now listen to music through music streaming services such as Spotify, Apple Music, and YouTube.
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Mr. Archer, who hails from Bangor, County Down, has been nominated for a Grammy award and has won two Ivor Novello awards, the highest honor bestowed upon a songwriter.
He’s also worked with Snow Patrol, Ed Sheeran, and members of REM and Thin Lizzy as a musician.
However, in written testimony to the DCMS inquiry, he claimed that even if a song he wrote were streamed a million times, he would only get roughly £450.
“In the year 2014, a song like Be A Nobody by the singer Soak got 1,402,712 streams, for which my publisher received £118.80,” Mr. Archer said.
“I’m plainly out of cash for the expenses I’ve incurred.
“With 5,671,142 streams, I stand to make £1,355 over the next six years.
“A publisher’s cut, management commission, and tax will lower all of the above.”
Mr. Archer stated that the amount of money he was paid for his services was “obviously not sustainable.”
“Streaming needs immediate oversight if creators, who contribute to the nation’s dynamic culture at home and abroad, as well as its revenue, are to survive,” he added.
The value of a songwriter’s craft has been “seriously eroded,” Mr. Archer told MPs.
“Unless the recording is a smash song, it might be years before I make even on my time and costs if the piece is disseminated through a streaming site,” he stated.
Guy Garvey of Elbow had previously testified to the committee, arguing that the way artists get compensated for audio streams is “threaten[ing] the future of music.”
Many musicians received “pitiful returns from music streaming,” according to the DCMS committee’s final report.
While consumers enjoyed the music that was historically cheap, more personalized, and readily available than ever before, the MPs also stated that “streaming’s short-term pricing structure puts music at risk in the long run.”
Julian Knight, the committee’s chair, expressed ‘serious concerns’ about the music streaming industry’s operations.
While streaming has brought considerable benefits to the recorded music industry, the talent behind it – performers, songwriters, and composers – has suffered as a result,” he stated.
“Only a complete reset of streaming, enshrining their rights to a fair share of the profits in law, will suffice.”