The shape and direction of the digital music industry can be hard to evaluate at the best of times. This week saw BSkyB give up on their Sky Songs service just a year after launching it [1], while Spotify continues to grow a paying subscriber base (albeit not yet to a level deemed profitable) [2]. Given these contrasting fortunes, it seems an appropriate time to revisit demand for streaming services, and see whether they’re any closer to establishing the mass-market audience the model relies on.
With growing smartphone and tablet ownership, and increasing connectivity of home stereo/entertainment systems, the notion of being always-on and seamlessly interacting across multiple devices is becoming a way of life for many consumers. Within this context, a service offering unlimited access to any song, artist, or label catalogue, across any internet-enabled device, can surely have never been a more enticing proposition?
A recent online study, to which we applied GfK’s truth index to help eliminate consumer overclaim, suggests that 14% of online adults in the UK would be likely to take up an unlimited service such as this. With consumers suggesting an average price of £6.22, the £4.99 (Unlimited) and £9.99 (Premium) Spotify offerings seem reasonably well positioned and, encouragingly in the face of recent hysteria about the ‘free’ generation, 16-24 year olds claim they are willing to pay the most.
Given these figures (and it’s fairly safe to assume interest will only increase as cloud computing goes mainstream) there is clearly money to be made; perhaps the more pertinent question is who will be making it? Certainly the distributors, Spotify in this case, will take a share (though the success of bundling internet and entertainment subscriptions in the current market suggests Sky and the other big players will be back, and Facebook and Google will certainly be watching on with interest), but what about the record labels?
In the past, the main contention of major labels has been that the new income from licensing catalogues to access-based services such as Spotify wouldn’t justify the threat of cannibalising their other revenue streams.
Our data suggests the extent of these fears is overblown; around two thirds (69%) of regular iTunes downloaders, for example, anticipate they would continue to buy music from Apple’s online store even if they were signed up to an unlimited streaming service (although, in all likelihood, this may stem from a more deep-rooted, habitual need to access music through offline devices; a trend we may not expect to hold up in the longer term)
Furthermore, differentiating revenue streams assures even greater protection for labels. Just 14% of physical music purchasers anticipate stopping if they signed up to a streaming service, and then there’s merchandising, licensing to television, film and video games, live, and an ever-increasing opportunity for additional ‘premium’ content (you only need to visit pledgemusic.com, a portal for musicians attempting to fund their own work, to get an idea of how many ways music can be monetised with a little creativity).
A significant level of consumer interest, willingness to pay, and a limited impact on other revenue streams should constitute a recipe for success, but if we’ve learnt anything from the evolution of the digital music industry it’s that the nut is a tough one to crack. The rates of return (to both artists and labels) from music streaming are unlikely to ever generate sufficient revenue to sustain the industry in its current shape. Successfully monetising an access model will require more than the revenue from streaming alone [4], but there will be no shortage of other opportunities to cash in on it (see @gleonhard for some ideas!)
Regardless, what we can be sure of is that the rate of change in consumer behaviour and expectation is not slowing, and finding a way to harness it, rather than hold it back, remains the best hope for an increasingly beleaguered industry.
[1] http://www.guardian.co.uk/media/2010/dec/06/bskyb-closes-sky-songs-music-service
[2] http://www.musicweek.com/story.asp?sectioncode=1&storycode=1043561&c=1
[3] Online research was conducted by GfK NOP among a sample of internet users in the UK (983). Fieldwork was conducted during November 2010.
[4] http://www.informationisbeautiful.net/2010/how-much-do-music-artists-earn-online/
Photo credit: Matsuyuki (http://www.flickr.com/photos/matsuyuki/2097637858/)