Though the disputes between some superstars and Spotify have resulted in favour of the Swedish streaming service, Swift & Yorke have nonetheless revealed weaknesses within the enterprise mannequin of music streaming from the perspective of the artists. The primary beneficiaries of the streaming economic system are the music majors, and little falls to the artists. On this a part of our collection on the economics of music streaming, we take a better take a look at the slice of the streaming pie that goes to the musicians, and again it up with details and figures.
The Music Streaming Financial system – Half 14: The Artists’ Share of the Music Streaming Pie
In his guide “Obtain!”,[1] revealed in 2013, Phil Hardy calculated that when a label sells a CD, it has a margin of 36 per cent of the web retail worth (i.e. after tax and commerce margin). So, assuming a web worth of US $15 for a CD, a label promoting 500,000 models a yr could make round US $2 million, which is the equal of a gold certificates within the US. Contemplating the standard deductions, within the worst case the musician will obtain a web share of 5 per cent of the income, which might nonetheless end in an earnings of US $100,000. The transition from sound recordings to music downloads has already considerably worsened the earnings scenario for musicians. The revenue margin for the label drops to 12 per cent, which signifies that at a worth of round US $10 for an album obtain, round 1.7 million downloads could be wanted to generate a complete income of US $2 million. Because of this 3.4 occasions extra album downloads than CD gross sales could be wanted to generate the identical income.[2]
What about music streaming? The enterprise mannequin is essentially completely different from promoting music. The customers get entry to music and don’t purchase music within the type of recordings and downloads. As an alternative, music customers pay a flat price or nothing for an ad-supported service. What issues is how the income from streaming is shared between the varied gamers.
The DCMS-Hearings
This query was addressed by the Digital, Tradition, Media and Sport (DCMS) Committee of the UK Parliament in public hearings on “The Economics of Music Streaming” in February and March 2021.[3] All related representatives of the music business and main tech firms needed to testify earlier than the MPs, whereas music creators additionally had the chance to current their scenario. Colin Younger from the auditing agency CC Younger & Co. was engaged as an knowledgeable on the cost flows within the British music streaming economic system to offer an opinion on the prevailing earnings flows from music streaming and potential different distribution programs. The presentation relies on the income shares which have already been established: 30 per cent for streaming companies, 55 per cent for the neighbouring rights and 15 per cent for the compensation of publishing rights (see fig. 1).
Determine 1: The distribution of music streaming income within the UK
Supply: After Colin Younger, 2021, Comparability of Streaming Therapy by Document Label and Publishing Firm, Report for the DCMS Committee Hearings on the Economics of Music Streaming, February-March 2021.
What goes to the artists relies upon closely on the contractual preparations between performers and labels on the one hand, and authors (composers and lyricists) and music publishers on the opposite. In one of the best case, performers can negotiate a 30 per cent share of the streaming revenues. Because of this 38.5 per cent of the streaming pie stays with the labels and 16.5 petr cent goes to the performers. Income streams within the music publishing sector are way more difficult. As we now have seen, the mechanical proper to a musical work have to be distinguished from the performing proper.
Within the UK, two completely different amassing societies are liable for the administration of those rights – the Mechanical-Copyright Safety Society (MCPS) and PRS for Music. PRS for Music distributes royalties to its members when their music is broadcast on radio or tv, carried out dwell, streamed or downloaded as a sound file. The MCPS collects cash when its members’ music is reproduced on sound carriers, but additionally for mechanical reproductions on the radio and the web, in addition to for using music in TV, movie and radio.[4] Since PRS for Music additionally collects the licence charges for on-line use on behalf of MCPS, the income from this have to be divided between the 2 amassing societies in line with a negotiated key based mostly on on-line use.[5] For simplicity’s sake, Younger has assumed that about half of the income share – i.e. 3.75 per cent – from music streaming must be redistributed by PRS for Music to MCPS. PRS for Music then distributes the remaining 3.75 per cent to authors, whereas MCPS distributes 11.25 per cent to music publishers, who obtain 30 per cent, and authors, who obtain 70 per cent. In complete, music publishers obtain 4.5 per cent of the streaming pie and authors (composers and lyricists) obtain a complete of 10.5 per cent. A singer/songwriter who writes, composes and performs his or her personal songs would due to this fact obtain 27 per cent of the full streaming income.
The Examine “Music Creators’ Earnings within the Digital Period”
Constructing on the UK Parliament’s DCMS hearings, a crew of researchers led by David Hesmondhalgh, commissioned by the Mental Property Workplace (IPO), has produced the examine, “Music Creators’ Earnings within the Digital Period”,[6] which meticulously traced the technology and distribution of music streaming revenues in the UK. Based mostly on the statements of music business insiders earlier than the parliamentary committee, they got here to a barely completely different conclusion relating to the distribution of income within the music streaming economic system in comparison with Colin Younger’s examine. In keeping with their calculations, the recording sector generated 52 per cent of the streaming income and publishing generated 15 per cent. Of their mannequin, round one third (33 per cent) of all streaming revenues stay with Spotify & Co.[7] From the hearings it was clear that the median income share for music streaming earnings for performers in label offers is 25 per cent. From this, 4 per cent is deducted for the music producer, leaving a web share of 21 per cent. The 15 per cent share for music publishers is cut up 75:25 between authors (composers and lyricists) and music publishers.[8] This leads to the next simplified total image (fig. 2), as a result of the executive prices of the amassing societies haven’t but been thought of.
Determine 2: Distribution of streaming revenues between rights holders
Supply: After Hesmondhalgh et al., 2021, p 139.
Based mostly on these splits, a month-to-month earnings for the music creators can now be calculated. Hesmondhalgh and his crew assume that a mean of GBP 0.011 per stream is generated within the UK, with GBP 0.008 being distributed to the rights holders. If an artist’s songs are streamed 1 million occasions per thirty days, this leads to a month-to-month streaming income of GBP 11,000, of which GBP 8,000 is distributed to the rights holders. Of this, round 11 per cent is paid out by the labels to the performers, who thus earn round GBP 1,200 per thirty days. The authors (composers and writers) obtain just a little greater than the performers, with GBP 1,238, because of the increased share of publishing revenues. Lastly, the producers are additionally to be thought of, who take part with GBP 229.
Determine 3: Month-to-month music streaming revenues for 1 million streams within the UK (in GBP) by stakeholder
Supply: Calculations based mostly on Hesmondhalgh et al., 2021, p 139.
Over the course of a yr, this interprets into a good earnings of round GBP 14,400 for the performer and GBP 14,850 for the songwriter. If the performer is a singer/songwriter, they’d earn virtually GBP 30,000 per yr from music streaming. The image adjustments, should you take into account that many acts are bands, normally consisting of 4 members. To realize the identical outcome, their songs must be streamed 4 million occasions a month. The scenario is analogous for songwriters, who not often have sole tune credit however normally work in songwriting collectives. Furthermore, 1 million streams per thirty days is a hurdle to beat. The authors of the examine “Music Creators’ Earnings within the Digital Period” calculated, utilizing knowledge from the Official Charts Firm (OCC), which compiles the UK-charts, that of 424,073 artists listed in 2020, just one,613, or simply beneath 0.4 per cent, have been capable of file greater than 1 million streams (and fewer than 10 million) per thirty days. Solely 8,322 artists, or round 2 per cent of the artists, have been capable of exceed the 100,000 streams threshold. Greater than 10,000 (and fewer than 100,000) streams per thirty days have been achieved by 27,180 artists (6.4 per cent), and greater than 1,000 (and fewer than 10,000 streams) have been achieved by round 60,000 musicians (14 per cent) (fig. 4).
Determine 4: Variety of artists per streaming and earnings threshold, UK 2014 and 2020
| Variety of streams per thirty days | Annual earnings per threshold in GBP | 2014 | in % | 2020 | in % | Change 2014 to 2020 |
| 10 to 100 million | 145,200 | 3 | 0.001% | 110 | 0.03% | 3,567% |
| 1 to 10 million | 14,520 | 187 | 0.09% | 1,613 | 0.38% | 763% |
| 100,000 to 1 million | 1,452 | 1,610 | 0.74% | 8,322 | 1.96% | 417% |
| 10,000 to 100,000 | 145.20 | 7,026 | 3.22% | 27,180 | 6.41% | 287% |
| 1,000 to 10,000 | 14.52 | 19,778 | 9.07% | 59,997 | 14.15% | 203% |
| 0 to 1,000 | 0 | 189,546 | 86.89% | 326,881 | 77.08% | 72% |
| Whole | 218,150 | 100% | 424,073 | 100% | 94% |
Supply: After Hesmondhalgh et al., 2021, p 201.
The comparability between 2014 and 2020 highlights a transparent enchancment within the earnings scenario for musicians. Whereas in 2014, when Taylor Swift had her music faraway from Spotify, solely 187 musicians have been capable of cross the brink of 1 million streams per thirty days, by 2020 the quantity had elevated virtually ninefold to 1,613. And the variety of musicians whose tracks have been streamed greater than 100,000 occasions a month has greater than quintupled, from 1,610 to eight,322. Nevertheless, with 100,000 streams per thirty days, a musician can earn an annual earnings of GBP 1,452 from music streaming, and a singer/songwriter can earn round twice as a lot. Nevertheless, it ought to be famous that solely just below 2.4 per cent of all musicians within the UK can generate greater than 100,000 streams per thirty days with their music. Those that solely handle 10,000 streams per thirty days earn simply GBP 145.20 per yr, and people who exceed the 1,000 stream per thirty days threshold earn GBP 14.52, which solely 23 per cent of all musicians handle to do. Conversely, which means 77 per cent of musicians within the UK weren’t capable of earn even GBP 14 per yr from streaming music in 2020.
In March 2021, Hesmondhalgh et al. (2021) performed a survey of 708 music professionals within the UK to complement these hypothetical calculations and to evaluate their earnings scenario. 71 per cent of respondents have been male and 28 per cent feminine. 1 per cent of respondents recognized as numerous. 40 per cent have been instrumentalists, 33 per cent have been singers and 55 per cent have been songwriters or composers, with a number of solutions attainable. It is usually attention-grabbing to notice that 52 per cent of respondents had a solo profession, with the rest both working with one other artist or in small ensembles or bands.[9]
28 per cent of respondents stated that music was their solely supply of earnings, whereas an additional 26 per cent stated it was their important supply of earnings. 30 per cent stated their important earnings got here from non-music associated actions and the remainder want to earn cash from music however have been unable to on the time of the survey.[10] It’s due to this fact not stunning that 37 per cent of respondents earned not more than GBP 5,000 in 2019 and an additional 10 per cent earned not more than GBP 10,000. Based mostly on the UK’s nationwide minimal annual earnings of GBP 20,000, round 62 per cent of respondents have been under this degree in 2019, taking solely their music earnings into consideration.[11] One other essential benchmark is he median earnings of a full-time worker within the UK, which the Workplace for Nationwide Statistics (ONS) determines round GBP 31,000. The examine highlights that 72 per cent of respondents earned not more than GBP 30,000 per yr from their musical actions and have been due to this fact under this median earnings.[12]
These figures present that even earlier than the COVID-19 pandemic, musicians within the UK had a relatively low earnings from their musical actions. The pandemic has additional worsened the earnings scenario, and in 2020 some 54 per cent of respondents fell under an annual earnings of GBP 10,000 and 65 per cent under the nationwide minimal wage.[13]
Music streaming doesn’t play a big position as a supply of earnings within the already troublesome financial scenario of musicians. Respondents indicated that earlier than the pandemic, a very powerful supply of earnings was live performance exercise, which accounted for 31 per cent of complete earnings. Music classes adopted with a share of 9 per cent, and solely in third place was earnings from music streaming at 6 per cent equally essential because the earnings from the sale of sound recordings.[14] These empirical knowledge assist the truth that music streaming will not be a related or perhaps a negligible supply of earnings for many musicians in the UK.
The Revenue State of affairs of Musicians in der US
This additionally confirms the findings of a examine on the earnings scenario of US musicians performed by Alan Krueger in 2018.[15] The survey requested 1,227 musicians in regards to the supply and quantity of their music-related earnings. The outcome was that round 81 per cent of respondents stated they earned earnings from dwell performances, making it a very powerful supply of earnings. Instructing music was a related supply of earnings for 42 per cent of respondents, adopted by participation in church choirs and different spiritual music performances (38 per cent of respondents). Some 36 per cent of respondents stated they earned earnings from audio and video recordings, 29 per cent from songwriting and 28 per cent from music streaming. Though streaming income was a supply of earnings for greater than 1 / 4 of respondents, the median earnings was solely US$100 per yr and was one of many least essential sources of earnings for US musicians after YouTube monetisation, at US $53 per yr. Respondents earned considerably extra from songwriting and recording, at US $850 every. However that is nothing in comparison with the dwell music enterprise, from which respondents earned a median earnings of round US $5,400. Nevertheless, the very best median earnings of US $8,000 per yr was earned from performing music in a non secular context. Music instructing, with a median annual earnings of US $4,000, was additionally considerably extra profitable for the musicians surveyed in 2017 than the music streaming enterprise.[16]
Because the 2021 UK examine highlights, the scenario has probably not improved. Revenues from music streaming are normally economically irrelevant for music creators.
Endnotes
[1] Phil Hardy, 2013, Obtain! How the Web Remodeled the Document Enterprise. London and so on.: Omnibus Press.
[2] Ibid.
[3] The transcripts of the hearings, in addition to statements and research, may be accessed on the DCMS web site: https://committees.parliament.uk/work/646/economics-of-music-streaming/, accessed: 2024-09-16.
[4] The collaboration between PRS for Music and the MCPS is defined on the PRS for Music web site: “PRS and MCPS”, n.d., accessed: 2024-09-16.
[5] The precise distribution of on-line revenues is defined on the PRS for Music web site, “On-line royalties”, n.d., accessed: 2024-09-16.
[6] Hesmonhalgh, David, Richard Osborne, Hyojung Solar & Kenny Barr, 2021, Music Creators’ Earnings within the Digital Period, examine commissioned by the Mental Property Workplace (IPO), London.
[7] Ibid., p 139.
[8] Ibid.
[9] Ibid., pp 165-166.
[10] Ibid., p 168.
[11] Ibid., p 169.
[12] Ibid., p 170.
[13] Ibid., p 169.
[14] Ibid., pp 171-172.
[15] Krueger, Alan, 2018, Inaugural Music Trade Analysis Affiliation (MIRA) Survey of Musicians, p 18.
[16] Ibid.