Stock investors looks to equity analysts for guidance on whether to buy, sell or hold stocks in individual companies. Gabelli senior media research analyst John Tinker has covered music and entertainment stocks for over twenty years. In this wide ranging conversation we hunt for value in the stocks of Spotify, Sirius/Pandora, iHeart Media, Live Nation, Tencent Music, Liberty Media and discuss the potential sale by Vivendi of a stake in Universal Music Group.
BTS just played SATURDAY NIGHT LIVE, marking the first-ever appearance by a Korean pop group in SNL’s 44 seasons. On this episode, we examine the emergence and explosive growth of K-Pop on the American musical landscape and explore the genre’s origins, current state and future with K-Pop expert Hannah Waitt.
Spotify supports music and the people who create it, and recently launched “Secret Genius,” to recognize often-unheralded and unrecognized songwriters. So why did Spotify join with Amazon and others to challenge how they pay music creators after this matter was decided in federal court over a year ago? In this super-concise but topical episode of Musonomics, we unpack the story with David Israelite, CEO of the National Music Publishers Association.
In our new report, “Same Heart. New Beat. How Record Labels Amplify Talent in the Modern Music Marketplace”, we examine how modern record labels have remade themselves to thrive in the era of streaming music. Based on almost 50 interviews with top-level executives at both major and independent record labels and commissioned by the Recording Industry Association of America (RIAA), we dig in to the changes that have taken place in the past decade to make labels an indispensable partner for the most ambitious new, developing, and superstar artists.
You can download the full report here.
The most sweeping update of American music copyright in a generation is now law. In this episode of Musonomics, Larry Miller talks to three people that shaped or closely followed this bill from draft to signing: Jacqueline Charlesworth, Mitch Glazier, and Robert Levine on why the Music Modernization Act was so urgently needed, how it came to be, and what happens next.
By Larry Miller
as published in Billboard October 5, 2018
The Music Modernization Act, now set to become law, is silent on one big remaining issue for the music industry: U.S. AM/FM radio stations pay nothing to broadcast the sound recordings they play.
To read the remainder of this piece, please click through to Billboard’s website
Music is all around us, all the time – as we shop in a store, eat in a restaurant – or work off those calories in a spin class. In this episode of Musonomics, Prof. Larry Miller from the NYU Music Business Program explores the evolution and licensing issues of background and foreground music used in businesses, from the birth of Muzak in the wartime factory — and then we shift into overdrive with Soul Cycle’s rawk gawd Sean Linehan on how he sculpts the playlists for each of his sold out spin classes.
For millions of us, artificial Intelligence got real when we added smart speakers to our homes. Our AI assistants are standing by, ready to play music, turn on the news, start the oven, or see who’s at the front door. But as they make life easier, they’re also creating new challenges for the music and entertainment industries. And then there’s the matter of security…just how smart do we want our AI devices to be?
Amazon, Google, and Apple are all now competing to be the smart speaker in our homes — and cars. As their underlying voice assistants become more integrated in our homes, the entertainment industry must rethink how to reach these consumers. How will Alexa, Google Home or Siri travel beyond our households and into the connected car? In this episode of Musonomics, we’ll hear from industry reporter Cherie Hue and Larry Rosin of Edison Research.
Digital music services continue to drive recovery of the music industry after a long period of decline, and the AM/FM music radio business is starting to feel it. Young people born after Millennials don’t use radio the same as previous generations. Can commercial AM/FM radio compete with pure play digital music services? Russ Crupnick of MusicWatch and Steve Goldstein of Amplifi Media join us to discuss what’s happening to radio listenership, and how radio needs to respond to the threat posed by unlimited, commercial-free music.
The way radio pays for music it uses may have acted as a kind of an economic disincentive for radio to invest in its own digital future. AM/FM radio broadcasters in the US pay a tiny amount, about 4% of revenues, to songwriters and music publishers, but American AM/FM stations are exempted from paying anything to the artists who performed the music or their record companies. This exemption doesn’t apply to digitally delivered radio streams, like SiriusXM or Pandora, or even the digital streams of AM/FM radio broadcasters.
Edison Research’s “Share of Ear” report shows that AM/FM radio is responsible for over half of all time spent listening to music in the U.S. among listeners 18 and older. Radio believes the power of its strong, local brands will insulate it from digital competition. However, this may not be the case in the car as the dashboard reconfigures around connectivity with advanced digital services. The car is currently the number one location for listening to radio, and automotive is the number one revenue category for radio. The connected car and its multiple audio offerings may be the greatest threat to AM/FM radio broadcasting, with 75% of new cars expected to be connected by 2020. Listen to this episode of Musonomics as we dive into the uncertain future of radio.
It’s not a secret that live music has kept many artists afloat as the recorded industry has cratered. But fifty percent of last year’s top 100 grossing acts are over 50 years old. Mick Jagger is 73 years old. So what will happen to the live music industry when they’re no longer around? On this episode of Musonomics we’re talking about the future of the live music industry and rock’s demographic crisis. Neil Shah, a staff reporter at The Wall Street Journal, is wondering whether the next generation of artists will be able to command the same ticket prices and bring the same revenue to fill the hole that would exist when Mick Jagger no longer sings “Satisfaction” at sold out stadiums. And if they do — are they gonna be able to do it for the next thirty years?
Music festivals are a big source of income – especially this time of year. Over 32 million people attend music festivals in the US every year. This year’s Coachella sold out in only three hours after the lineup was announced in January. Over the last ten years, concert promoters have been buying stakes in music festivals. Live Nation recently became the majority shareholder in Bonnaroo and the Isle of Wight and is now producing over 60 festivals. AEG Presents, the world’s second largest music promoter, is producing 18, including Coachella the highest grossing music festival. Neil Shah says the promoters are looking to take stakes in a business that will increasingly provide a bigger share of live music revenues.
But it’s not all sunshine. 2016’s Bonnaroo was the least attended in that festival’s 15 year history. And both Tomorrowland and Wakarusa cancelled their festivals last year. This – paired with a lot of lineup overlaps – has raised the question whether we have in fact reached what’s been called peak music festival. Cherie Hu writes about music and technology in Forbes. She thinks characterization of the current scene as “peak festival” is an oversimplification. To get to the bottom of the claim that festivals have a lot of lineup overlaps, she analysed the data from nine upcoming festivals. Hear what she found out in this episode of Musonomics.
As always, you can listen to the new episode on iTunes, or stream it on Soundcloud.