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Revenues from audio streaming: the figures don’t add up

The streaming business model

The fig­ures pub­lished by the indus­try are clear: since 2012, the music stream­ing mar­ket has been pro­gress­ing con­tin­u­ous­ly. This growth is accel­er­at­ing year after year, in a spec­tac­u­lar way. In the United States, streaming-​generated rev­enues for 2019 exceed­ed the total record­ed music mar­ket for 2017 (RIAA data). The trend is the same on the British mar­ket, where fig­ures for 2019 set new records: for the first time, the annu­al num­ber of streams exceed­ed 100 bil­lion (BPI data).

As the stream­ing econ­o­my devel­ops, the ques­tions grow as to the way in which rev­enues are divid­ed between the var­i­ous sec­tor play­ers.
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UK | Fix streaming to Keep Music Alive

UK campaign ‘Keep Music Alive’

The Covid-​19 cri­sis has hit music per­form­ers hard. Gigs have been can­celled, fes­ti­vals and per­for­mances post­poned, and record­ing stu­dios closed. It has brought into sharp relief the fact that musi­cians are sus­tained pri­mar­i­ly by income gen­er­at­ed by the live side of the music busi­ness and that stream­ing roy­al­ties are woe­ful­ly insuf­fi­cient.

It would take 53 mil­lion Spotify streams to break even on a € 24,000 loss, a fig­ure that is unat­tain­able for most musi­cians. In the UK, one in five respon­dents to an MU sur­vey said they were con­sid­er­ing leav­ing music alto­geth­er.
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Fair Internet coalition meets with Commissioner Gabriel

Commissioner Mariya Gabriel Press release I BRUSSELS, 9 June 2020

Exchanging with Commissioner Gabriel today, AEPO-​ARTIS, FIA, FIM and IAO shared with her what they con­sid­er the European Commission’s key pri­or­i­ties should be in order to strength­en per­form­ers’ pro­tec­tion and enable them to envis­age ful­fill­ing pro­fes­sion­al careers.

AEPO-​ARTIS, FIA, FIM and IAO wel­come that the European Commission recog­nised the impact of the COVID-​19 pan­dem­ic on the cul­tur­al and cre­ative sec­tor in its recent EU recov­ery plan. In this regard, it is absolute­ly essen­tial that the EU can pro­vide per­form­ers with appro­pri­ate short- and mid-​term sup­port, finan­cial and oth­er­wise.
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International Conference on Streaming | Mumbai, 2 – 3 Dec. 2019

4th International Conference on Streaming
Mumbai | 2 – 3 December 2019
Hosted by MFI
MFI logo

Click here to reg­is­ter

IMC con­fer­ence cen­tre (Indian Merchants’ Chamber aka Chamber of Commerce and Industry). IMC Marg, Mumbai, Maharashtra 400020
Locate the IMC on a map
How to get to the IMC from the Trident Nariman Point


Mumbai 400 021, India
Prices are valid for a stay between 30 Nov. – 6 Dec. Breakfast and WiFi includ­ed.

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Fair Internet | Artists meet European MPs

Campaign event at EU parliament, Strasbourg

The work of the European Parliament on the pro­posed European Directive on copy­right in the dig­i­tal sin­gle mar­ket is reach­ing its end: after the opin­ion com­mit­tees, the Committee on Legal Affairs (JURI) will be stat­ing its posi­tion on 21 June on the text which will be sub­mit­ted to a vote of the European Parliament, in prin­ci­ple dur­ing the com­ing weeks.

The Parliament’s CULT (Culture) and ITRE (Industry) Committees have already come out in favour of the intro­duc­tion, for per­form­ers, of a non-​transferable, collectively-​administered right to remu­ner­a­tion.
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Tidal suspected of huge fraud


Launched in Sweden in 2014, the Tidal music stream­ing ser­vice has since 2015 belonged to the Project Panther Ltd Company, owned by rap­per Jay‑Z mar­ried to singer Beyoncé.

Competing with plat­forms such as Spotify, Deezer or Apple Music, Tidal under­scores a more equi­table redis­tri­b­u­tion of its rev­enues in favour of artists and the avail­abil­i­ty of part of its cat­a­logue in MQA for­mat, a new stan­dard aimed at an audio­phile clien­tele.

While Tidal’s prof­itabil­i­ty per­spec­tives are more uncer­tain than ever, a report from the Center for Cyber and Information Security (CCIS) from the Science Faculty of Norway (the coun­try where Tidal’s par­ent com­pa­ny is locat­ed) indi­cates that Tidal alleged­ly allo­cat­ed 320 mil­lion false lis­ten­ings to two albums: Kanye West’s The Life of Pablo and Beyoncé’s Lemonade.
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Streaming: pro-​rata vs user-​centric distribution models

First pub­lished on the SML web­site

More for few or few­er for more – The results of a com­par­a­tive study on pro rata and user-​centric dis­tri­b­u­tion mod­els

Currently, the mon­ey goes to the most lis­tened tracks instead of being allo­cat­ed in accor­dance with the con­sumer’s choic­es

The study com­mis­sioned by Finnish music orga­ni­za­tions explored the dif­fer­ences between the pro rata mod­el favor­ing the most lis­tened tracks and being in use in stream­ing ser­vices, and the alter­na­tive user-​centric mod­el based on indi­vid­ual con­sumer’s choic­es.
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Copyright | Disappointment for performers after the European Commission’s proposal

Commissioner Oettinger

On Thursday 14 September 2016, the European Commission issued its pro­posed direc­tive on copy­right in the Single Digital Market. This com­mu­ni­ca­tion was on the same day that President Juncker was mak­ing his 2016 State of the Union Address.

Declarations made on this occa­sion by Commission rep­re­sen­ta­tives are not lack­ing in ambi­tion or even empha­sis. Thus, we like to hear Jean-​Claude Juncker when he states: “Artists and cre­ators are own crown jew­els. The cre­ation of con­tent is not a hob­by. It is a pro­fes­sion.
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