El negocio de la música: Universal Music, Sony Music, Warner Music. Streaming: Spotify, Apple Music, etc.

El otro día leí y creo que enlacé que en UK el 0,4% de los artistas conseguían el 60% de las reproducciones. También hace tiempo comenté/enlacé que en general, en el mundo, el 1% de los artistas consiguen el 80% de las reproducciones y el 10% de los artistas el 98% de las reproducciones.

0,4% mejores artistas -> 60% reproducciones
1% mejores artistas -> 80% reproducciones
10% mejores artistas -> 98% reproducciones

¿Pero qué sucede dentro de una misma discográfica como UMG que ya de por sí posee sólo los mejores artistas?

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Music and streaming - Final Report - CMA (Competition & Market Authority) UK

Para UK:

With a ‘full catalogue’, older music (the so-called ‘back catalogue’, which in our analysis we have taken to be music older than 12 months) is readily available and represents a very high proportion of streams (rising from 76% in 2017 to 86% in 2021). Before streaming, since record shops had finite shelf space, such music would have had comparatively few options for ongoing monetisation. The value of the back catalogue has increased considerably in recent years. This is because of the rise of streaming as well as new ways to monetise music content. As such, music back catalogue is now considered as an increasingly attractive class of assets. The rights for such music are being bought for large sums of money by music companies, private equity firms, and institutional investors

Digitisation has had other impacts on music companies and artists. The cost base of music companies has shifted away from the physical production and distribution of music to digital distribution

There are three major music companies – Sony, Warner and Universal, collectively ‘the majors’. ... In terms of their share (by volume) of total UK streams, the majors accounted for over 70% in 2021 – a similar proportion as in 2015. Their music dominates the popular charts. The combination of the rights they hold in recordings along with the rights they hold in publishing, means that in 2021 they collectively had some form of rights in 98% of the top one thousand singles.

BPI noting that approximately only one in ten investments made by record labels breaks even on the upfront label investment

Many artists derive the main part of their income from live music and have found recent years exceptionally challenging as these income streams were shut down under the pandemic.

Mercuriadis: “It’s no secret to anyone that the Pink Floyd [recorded music] catalog was for sale not too long ago, and in the end that catalog won’t trade. [With] a catalog as iconic as that, on the surface it looks amazing, but below the surface, you’ve got incredible records that are going to go into public domain – because it’s a catalog that is over 50 years, hitting 60 years, old.”

Mercuriadis then said to a JP Morgan analyst in the room: “You’ve also got an audience [for Pink Floyd] that includes me and you; Wish You Were Here is my favourite record of all time. But [in investment terms] it’s an audience with a limited life left to it. While if you’re the 14-year-old girl that was listening to Senorita three summers ago, you’ve hopefully got another 70 years of life left in front of you, and another 70 years of consuming these incredible songs that become a fabric of your life and part of the fabric of society.”
https://www.musicbusinessworldwide.com/4-things-we-learned-from-merck-mercuriadis-qa-with-hipgnosis-songs-fund-analysts/

with the advent of streaming the role and economics of labels have
changed along with the skills and services demanded of them, eg:
(a) Manufacturing/logistics no longer need to be factored into streaming
distribution costs (and making music without a label is no longer
impossible as you do not have to have physical product)...

(b) Before streaming, the key sales window centred almost exclusively on the
short period around a record’s release. While that initial window is still
important for word of mouth and fan engagement, music has an increased
longevity given that digital search and playlisting can continue to make a
track readily accessible long past its launch. Labels have had to adapt to
this reality, which has changed the nature of marketing as well as leading
to renewed interest and viability for artists’ back catalogues.