1、GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYCONTENTSIn an ever developing and rapidly changing music market,we offer our artists a tailor-made service to fit their unique needs.We continue to push hard to achieve the success our artists deserve whilst giving them the space and resources they need

2、to make great music!”Whilst we continue to bring high quality content into the world from hugely innovative creators,we must all recognise that the worth and importance of this creativity can be diminished if we dont proactively maintain that value everywhere consumers experience content.The recordi

3、ng industry represents the music that drives the growth and success of many other businesses,so we must be vigilant against any race to the bottom offered up to consumers.With new chapters on the horizon such as the Metaverse and AI,we will continue to protect our creators as we navigate a new compl

4、ex rights model.”Music thrives at the intersection of culture,technology,and commerce.Its the single most influential global art form,with an unmatched ability to attract audiences,drive social interaction,transcend borders,and unite people.Despite this power,its still undervalued compared to other

5、forms of entertainment.Were excited to unlock the industrys next phase of growth by championing extraordinary artists and songwriters,building long-term careers and loyal fan communities,while developing innovative business models and high impact tech products.Our future is a whole universe of oppor

6、tunity.To succeed,musics future must be artist-centric.As we enter our industrys next exciting chapter,we must remain focused on our shared goal:a robust,growing and sustainable music ecosystem.This is an environment in which great music is not drowned out by an ocean of noise,where music is easily

7、and clearly accessible for fans to discover and enjoy,and an environment in which the creators of all music contentwhether in the form of audio or short-form videoare fairly compensated and can therefore thrive for decades to come.”Konrad von LhneysenManaging Director,Embassy of MusicRobert KynclChi

8、ef Executive Officer,Warner Music GroupRob Stringer CBEChairman,Sony Music GroupSir Lucian GraingeChairman&Chief Executive Officer,Universal Music Group IFPI 2023 All data,copy and images are subject to copyright and may not be reproduced,transmitted or made available without permission from IFPI.Us

9、e of this report,IFPI Global Music Report(2023 edition)is governed by Global Music Report Terms of Use(gmr.ifpi.org/terms-of-use)and Global Music Report Content Usage Rules(gmr.ifpi.org/content-usage).DESIGNED BY DATA DESIGNIFPI.ORG IFPI_ORGGlobal Music Market 2022 in Numbers4Introduction by Frances

10、 Moore5Global Charts 20226Global Market Overview 202210Figures by Format 202212Figures by Region 202214The Constantly Evolving Partnerships Between Artists and Record Labels16Driving Long-term Creative and Commercial Success18A&R:Discovering and Developing Artists and Their Music in 202322Case Study

11、 Sam Ryder24Artist Wellbeing26Discovering New Opportunities for Artists and Their Music28Case Study Steve Lacy34Artificial Intelligence:Defining its Place in Music36Local Cultures Driving Musics Global Growth38Case Study-Noga Erez42The Global Strength of Local Repertoire44Case Study Fujii Kaze48Secu

12、ring A Framework for Long-Term,Sustainable Growth Across the Music Ecosystem50Photo credits523IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRY2IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYMusic continues to grow globally,and artists are increasingly interconnected with fans as a result of t

13、he worldwide infrastructure and investment from record companies.Alongside this,record companies are building and developing local teams around the world who are on the ground,working with current and emerging artists from a growing variety of music scenes.This is driving musics development whilst e

14、nabling fans to seize the expanding opportunities to embrace and celebrate their own local artists and culture.The core of a record companys mission remains partnering with artists to help them achieve their greatest creative and commercial potential.Today,that partnership has expanded into more are

15、as and more parts of the world as record companies increase their focus on innovation.Today we have an incredible,kaleidoscopic array of music coming from a diverse group of artists across the globe.THIS REPORT RELAYS THE STORY OF TODAYS CONSTANTLY GROWING AND EVOLVING MUSIC WORLD.INTRODUCTIONThis h

16、as created new and diverse opportunities for artists to connect with their fans;from harnessing cutting edge technology ranging from creating immersive music experiences to enhancing health and fitness activities to reimagining opportunities to tell artist stories through films,TV and brand partners

17、hips and much more.However,as the opportunities for music continue to expand,so too do the areas in which record companies must work to ensure that the value of the music artists are creating is recognised and returned.This challenge is becoming increasingly complex as a greater number of actors see

18、k to benefit from music whilst playing no part in investing in and developing it.Ultimately,however,the story of this report is one of innovation and growth and,above all else,great artists and their music.FRANCES MOORE Chief Executive,IFPI2022 IN NUMBERSGLOBAL MUSIC MARKET+9.0%GLOBAL REVENUE GROWTH

19、67.0%OVERALL STREAMING SHARE OF GLOBAL REVENUE10.3%GROWTH IN SUBSCRIPTION AUDIO STREAM REVENUEUS$26.2BNVALUE OF GLOBAL RECORDED MUSIC REVENUES8TH CONSECUTIVE YEAR OF GROWTHSam Smith photo by Michael Bailey Gates5IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRY4IFPI GLOBAL MUSIC REPORT 2023 STATE

20、OF THE INDUSTRY01GLOBAL CHARTSMOST POPULAR ARTISTS&BEST SELLERS OF 202207Stray Kids06SEVENTEEN03Drake02BTS04Bad Bunny08Harry Styles09Jay Chou10Ed Sheeran05The WeekndTaylor SwiftTOP 10 GLOBAL RECORDING ARTIST CHART 2022 The IFPI Global Recording Artist Chart measures consumption across all formats(in

21、cluding streaming formats,digital and physical albums,and single sales)and all countries in a calendar year.It is weighted based on the relative value of each method of consumption.76IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYIFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYGLOBAL TOP 10AL

22、BUMS CHART 2022The IFPI Global Album Chart takes into account all consumption formats,spanning physical sales,digital downloads,and streaming platforms across a calendar year.It is weighted based on the relative value of each method of consumption.For the full Top 20 Global Artists,Singles and Album

23、s please see www.ifpi.orgGLOBAL TOP 10SINGLES CHART 2022Source:IFPISource:IFPI012.28BNHARRY STYLESAS IT WAS021.75BNGLASS ANIMALSHEAT WAVES03THE KID LAROI&JUSTIN BIEBERSTAY1.74BN04ELTON JOHN&DUA LIPACOLD HEART (PNAU REMIX)1.34BN05THE WEEKNDSAVE YOUR TEARS1.32BN01BAD BUNNYUN VERANO SIN TI02TAYLOR SWIF

24、TMIDNIGHTS03HARRY STYLESHARRYS HOUSE04BTSPROOF05ENCANTO CASTENCANTO OST06IMAGINE DRAGONS&JIDENEMY1.26BN07ED SHEERANSHIVERS1.23BN08GAYLEABCDEFU1.22BN09BAD BUNNY&CHENCHO CORLEONEME PORTO BONITO1.21BN10ED SHEERANBAD HABITS1.20BN06STRAY KIDSMAXIDENT07SEVENTEENFACE THE SUN08BLACKPINKBORN PINK09OLIVIA ROD

25、RIGOSOUR10ED SHEERAN=The IFPI Global Single Chart measures digital format singles across a calendar year,including paid subscription streaming,ad-supported platforms,and single-track downloads and streams.GLOBAL SUBSCRIPTION STREAMS EQUIVALENTGLOBAL SUBSCRIPTION STREAMS EQUIVALENT98IFPI GLOBAL MUSIC

26、 REPORT 2023 STATE OF THE INDUSTRYIFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRY0 5 10 15 2030 25200019992002 2003 2004 2005 2006 2007 2008 2009 200000222001Downloads&Other DigitalTotal StreamingTotal PhysicalPerformance RightsSynchronisation21.022.32

27、0.7 19.2 19.2 18.7 18.1 16.9 15.7 14.6 13.8 13.8 13.8 13.5 13.1 13.6 14.8 15.9 17.5 18.9 20.3 24.0 26.222.1TOTAL REVENUE US$BILLIONS22.321.021.620.118.518.016.815.213.111.09.68.27.56.96.15.45.25.04.74.23.93.84.44.60.10.10.20.30.40.40.60.91.31.82.74.46.28.810.712.715.717.50.31.01.92.63.23.53.74.14.24

28、.13.93.63.12.51.61.41.21.10.90.60.70.70.80.80.91.11.11.21.31.31.41.61.71.82.12.22.52.42.22.32.50.30.30.30.30.30.30.30.40.50.50.40.50.6Rising to US$26.2 billion,the global recorded music market grew by 9.0%in 2022.01USA05CHINA02JAPAN07SOUTH KOREA03UK04GERMANY09BRAZIL08CANADA10AUSTRALIATHE GROWTH OF T

29、HE GLOBAL INDUSTRY CONTINUESGLOBAL MARKET OVERVIEW 2022TOP 10 MUSIC MARKETS IN 2022GLOBAL RECORDED MUSIC INDUSTRY REVENUES 1999-2022(US$BILLIONS)GLOBAL RECORDED MUSIC REVENUES BY SEGMENT 202267.0%18.7%48.3%3.6%17.5%9.4%2.4%Total StreamingAd-supported streamsSubscriptionaudio streamsDownloads&Other D

30、igitalSynchronisationPerformance RightsPhysicalstreaming)digital seeing a decline.Subscription streaming was the leading driver of growth(+10.3%to US$12.7 billion).Overall streaming(including subscription and advertising-supported),accounted for the highest proportion of the market,increasing to a 6

31、7.0%share of the overall market in 2022 up from a 65.5%share the prior year.+9.0%GLOBAL RECORDED MUSIC MARKET GROWTH+11.5%GROWTH IN OVERALL STREAMING REVENUES589mUSERS OF PAID SUBSCRIPTION ACCOUNTSBTS photo by BIGHIT MUSICRevenues increased in every region and in each of the worlds top 10 markets,wi

32、th China moving into the top five for the first time ever and Brazil re-entering the top 10.Growth came from a wide range of revenue sources:once again there was a rise in revenues from streaming,physical,performance rights and synchronisation,with only downloads and other(non-06FRANCE0 5 10 15 2030

33、 25200019992002 2003 2004 2005 2006 2007 2008 2009 200000222001Downloads&Other DigitalTotal StreamingTotal PhysicalPerformance RightsSynchronisation21.022.320.7 19.2 19.2 18.7 18.1 16.9 15.7 14.6 13.8 13.8 13.8 13.5 13.1 13.6 14.8 15.9 17.5 18.9 20.3 24.0

34、26.222.1TOTAL REVENUE US$BILLIONS11IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRY10IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYFIGURES BY FORMAT 2022In 2022 there were revenue gains across nearly all format categories,with streaming continuing to dominate the global revenue mix.Whilst gr

35、owth rates across all formats were lower than the prior year with the exceptional growth in 2021 partly attributable to a post-pandemic boost there were double-digit gains in streaming and resilience in the physical market.Physical format revenues including CDs,vinyl and other physical formats incre

36、ased for a second year running,albeit not matching the prior years growth(+16.1%)which had been stimulated by a post-pandemic resurgence.Growth of 4.0%equated to US$4.6 billion in revenues,taking physical to a 17.5%share of the overall market.Within this,revenues from CD and other physical revenues

37、saw a slight decline(-0.4%)whilst vinyls upward trajectory sustained for more than a decade-continued with growth of 17.1%in 2022.Physical saw its strongest performance in Asia once again,with that region accounting for almost half the global revenues for physical(49.8%).PHYSICAL+4.0%Revenues from p

38、erformance rights the use of recorded music by broadcasters and public venues grew by 8.6%.Reaching US$2.5 billion in 2022,the revenues surpassed their pre-pandemic levels in 2022 and made up 9.4%of the global market.PERFORMANCE RIGHTS+8.6%Global revenues from streaming continued to increase in 2022

39、,seeing double-digit growth(+11.5%)and reaching US$17.5 billion.Although this was a slower rate of growth than the prior year(+23.9%),there was a varied picture across the globe with some regions posting big climbs in streaming revenues.Revenues from subscription streaming grew by 10.3%globally,reac

40、hing US$12.7 billion in 2022.STREAMING+11.5%In an expected trajectory,downloads and other(non-streaming)digital representing just 3.6%of the overall market-was once again the only format category to experience decline in 2022,as streaming continued to increase its foothold as the dominant digital fo

41、rmat.Within this,revenues from permanent downloads fell by 19.6%to US$644.4 million whereas other non-streaming digital formats,including mobile personalisation grew by 12.2%.DOWNLOADS&OTHER DIGITAL-11.7%Accounting for 2.4%of the market in 2022,synchronisation revenues from the use of recorded music

42、 in advertising,film,games and TV maintained strong increases,posting another year of growth exceeding 20%and reaching US$640.4 million.SYNCHRONISATION+22.3%Harry Styles photo by Lillie Eiger1312IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYIFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYFIG

43、URES BY REGION 2022ASIA Asia experienced double-digit growth for the third consecutive year,up by 15.4%and outpacing the overall global growth rate.Japan,the regions largest market saw a second year of consecutive growth(+5.4%)whilst the regions second largest market China saw a significant rise of

44、28.4%pushing it into the top five markets globally for the first time.Overall revenues from Asia accounted for 22.9%of the global market.MIDDLE EAST&NORTH AFRICA Posting the worlds third highest growth rate in 2022,Middle East&North Africa saw revenues from recorded music climb by 23.8%.Streaming ac

45、counted for the vast majority of the market,with those revenues accounting for a 95.5%share.EUROPE The worlds second largest region for recorded music revenues saw growth of 7.5%in 2022.UK,Germany and France remained the three largest markets in Europe,all posting growth(+5.4%,+2.2%and+7.7%respectiv

46、ely).Europes revenues from streaming accounted for more than a quarter of revenues from the format globally(26.0%share)and also accounted for the highest proportion of revenues from performance rights(54.9%of global performance rights revenues).USA&CANADA Maintaining its foothold as the worlds large

47、st region for recorded music,revenues in the USA and Canada increased by 5.0%in 2022;a slower rate than the prior year(+21.8%)when exceptional market growth had been partially driven by a post-pandemic boost.Both USA(+4.8%in 2022)and Canada(+8.1%)remained global top 10 markets,with USA the single bi

48、ggest national market in the world,exceeding US$10 billion for the first time.Overall the USA&Canada region represented 41.6%of the global market.LATIN AMERICA Revenues in Latin America rose by 25.9%continuing a decade-plus trajectory of growth.Every market saw double-digit growth,including the regi

49、ons two largest markets,Brazil(+15.4%)and Mexico(up steeply by 24.3%).Once again,streaming revenues dominated,accounting for 85.2%of the Latin American market.SUB SAHARAN AFRICA With a steep increase of 34.7%,and the only region to see more than 30%growth,Sub-Saharan Africa became the fastest growin

50、g region for recorded music revenues in 2022.Growth was boosted by a strong climb in revenues in South Africa,the regions largest market(+31.4%versus a modest 2.4%growth the prior year).AUSTRALASIA In Australasia,Australia remaining a top 10 market experienced growth of 8.1%,driven largely by stream

51、ing.Similarly New Zealand saw recorded music revenues increase by 8.0%.Overall,recorded music revenues in the Australasia region rose by 8.1%,an increase on the prior years growth rate of 4.7%.Once again,the recorded music market saw growth in every region across the globe in 2022.Four regions poste

52、d double-digit gains,outpacing the overall growth rate of 9.0%and Sub-Saharan Africa overtook Middle East and North Africa as the fastest growing area.+34.7%+25.9%+5.0%+8.1%+15.4%+23.8%+7.5%1514IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYIFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYPART

53、NERSHIPSPARTNERSHIPSPARTNERSHIPSPARTNERSHIPSPARTNERSHIPSPARTNERSHIPSPARTNERSHIPSPARTNERSHIPSPARTNERSHIPSTHE CONSTANTLY EVOLVING PARTNERSHIPS BETWEEN ARTISTS AND RECORD LABELSDennis Kooker,President,Global Digital Business at Sony Music Entertainment,says that in order to do this,record companies mus

54、t simultaneously serve the immediate needs of artists whilst building towards what they will require next.“Priority number one is executing on whats happening today for our artists identifying where the opportunities are and what needs to be done now.Were also in a business that continues to evolve

55、in material ways,so we have significant dedicated resources that are focused towards the future.Its hugely important for the sake of our artists and their ongoing success that we effectively over-deliver for them in both these areas,and that we invest for the future before it happens.”Will Tanous,EV

56、P&Chief Administrative Officer,Universal Music Group,feels it is the entrepreneurial spirit at the heart of record companies that drives the increasing opportunities for artists.“The things we prize are innovation,taking diverse approaches,giving autonomy to operators,fostering healthy internal comp

57、etition because at the end of the day,we are a collection of labels all founded by entrepreneurs who believein the face of tremendous challengesthat an artist they discover could change the world.”“That spirit is very much alive within UMG.We have a culture that prizes that philosophy and renews tha

58、t behaviour regularly.”However,Tanous goes on to warn that as the opportunities continue to grow in the music ecosystem,it has become more important than ever to ensure value is returning to those committed to investing in,creating and developing artistry and music.“Everybody I work with got into th

59、is business because working with artists and music is not merely a job,its a calling.There are a lot of new and different players in the ecosystem now that the industry has returned to growth.We need to make sure the people who are setting the agenda for music are the people for whom artist developm

60、ent and moving culture forward are the prioritynot those who are solely in this to seize financial opportunities in a growing market.Where were those people when the industry was in decline and needed help?We were here,and we were investing all through the difficult years.”At its core,a record compa

61、ny continues to be focused on partnering with artists to find creative and commercial success.Today,that partnership has expanded into more areas and more parts of the world;creating more opportunities to reach and connect with an increasingly diverse fanbase.Referencing the likes of Aya Nakamuras F

62、rancophone-first collaboration with Fortnite and Spinnin Records creating NFTs with LGND.io,Simon Robson,President,International,Recorded Music,Warner Music Group explains,“Music is integral to so many different elements of our lives and not just through the traditional streaming services;you have s

63、ocial media,health and fitness,gaming and Web3 opportunities and much more.We are constantly trying to develop these opportunities for our artists.”We help extraordinary talent cut through the background noise in our short-span attention economy,enabling them to truly connect with fans and so unlock

64、 a universe of opportunities.”MAX LOUSADACEO,Recorded Music,Warner Music GroupJay Chou photo courtesy of JVRBLACKPINK photo by Jungwook Mok17IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRY16IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYCOMMERCIAL SUCCESSCREATIVE DEVELOPMENTPARTNERSHIPARTIST

65、CREATIVEDEVELOPMENT SERVICESPhotoshootsStylingVideo creationSocial media developmentMARKETINGInfluencer campaignsDigital(social media,ads)Physical(posters,billboards)Audience analysisCRM developmentA&RDEVELOPMENTSession organisationSong writingdevelopmentRECORDINGStudio accessProductionMixingMasteri

66、ngGLOBALINTER-CONNECTIVITYCross-cultural collaborationsAudience analysisARTIST WELFARE PROGRAMMEPortal accessReal time accessLegal supportGLOBAL DISTRIBUTIONLicensed DSPsMerchandiseCDs and vinylBUSINESSAFFAIRSLicensingagreementsContentprotectionUPFRONTINVESTMENTAdvancepaymentFinancialtransparencyART

67、IST BRANDOPPORTUNITIESSync opportunitiesBrand partnershipsMerchandiseNew technologies(gaming,web3)PROMOTIONTVRadioIn-storeperformancesPodcastsStreamingDRIVING LONG-TERM CREATIVE AND COMMERCIAL SUCCESS“Weve got to constantly think beyond our limits and beyond any traditional barriers or parameters fo

68、r each and every artist.”The ways that artists can partner with record companies also continues to evolve,with more flexibility being factored into each partnership,tailored around each artists unique needs and requirements.our short-span attention economy,enabling them to truly connect with fans an

69、d so unlock a universe of opportunities.”Marie-Anne Robert,Managing Director,Sony Music France,agrees,explaining that having a label team that is able to adapt to new challenges is vital in todays highly competitive market.“Its extremely hard to break new artists and develop new talent in a global m

70、usic market where numerous tracks are uploaded every day and competing for peoples attention becomes ever more challenging.Thats why weve put tremendous effort into getting the best team on board to manage each project this team can then adapt more effectively to an artists needs,put an emphasis on

71、developing the right story around the artist and help foster their creativity.”From a global perspective,the world for artists now is connected in a way that it hasnt been previously.Record labels,therefore,must work harder than ever to connect different teams in different regions sharing informatio

72、n,best practice and ideas around how to break artists and build long term audiences in every corner of the globe.In terms of connecting these dots,Melissa Thomas,Executive Vice President,International Marketing,U.S.Repertoire,Sony Music Entertainment,explains,“Today,a music fans attention is being p

73、ulled in so many different directions,wherever they are in the world.To cut through that,we have to figure out a way to bring our artists into that local conversation and help tell their stories in an authentic and compelling way.These executives vary from marketing professionals,data scientists,pro

74、motion teams and beyond all of whom are trained in understanding each artists own unique vision and how to bring that vision to a global audience.Max Lousada,CEO,Recorded Music,Warner Music Group,outlines,“Record labels constantly deliver impact and add value to artists in a fast-changing market.Tha

75、ts not just about sparking imagination,curiosity or excitement in fans,but also providing the strategic advice artists need to sustain success over the long-term.We help extraordinary talent cut through the background noise in On the ground,record labels are building teams of skilled executives who

76、can support and enhance an artists creative vision,whilst also understanding the consumer market that surrounds each project.Dave photo by Andrew TimmsWe are a collection of labels all founded by entrepreneurs who believe-in the face of tremendous challenges-that an artist they discover could change

77、 the world.”WILL TANOUSEVP&Chief Administrative Officer,Universal Music Group1918IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYIFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYVanessa Bosen,President,Virgin Music Label&Artist Services,offers a slightly different package of support from a trad

78、itional label.At Virgin,artists tend to come with music ready to be launched and looking to buy the expertise and experience of her team to help distribute and market it to fans:“Artists will come to us with their music that is ready,but they need the services to take that music and promote it to th

79、e world.Thats what we can provide at an outstandingly high standard:a network of all of the independent music capabilities from Universal Music across all of its business units and regions.“If youre an artist that knows what you want to do with your campaign,you know who you are as an artist,but you

80、 still cant cover all the ground yourself you come to us.Its just too much for any single individual.You cant be your own promotion and marketer,radio and TV plugger-you cant be everything all at once especially if you want to do it everywhere all at once.“So,if you are an independent artist you can

81、 partner with Virgin,and together we can keep that completely independent feel,but you will have access to all of our services and plug into our global network.We have access to sync and brand briefs via Universals in-house team Globe to the worlds best merch system,to the D2C network:all that infra

82、structure that you wouldnt have had access to before.”Tanous returns to the subject of the vital role a record label performs today.“You can reduce it to the fundamentals:does an artist need a team to succeed?Most people would say,Yes.What does the team look like?Does it have people who understand m

83、usic?Does it have people who understand the creative process?Does it have people who understand the platforms?Does the team also have the ability to create and execute a marketing plan for you,not just in your region,but globally?“When you start answering all those questions,it becomes clear that th

84、ere are not that many places that can offer all those resources to an artist.Its most likely a company that has invested heavily in building an infrastructure designed to support artists,a company that has recruited and trained best-in-class teams in every department from data scientists to A&R to g

85、lobal marketing.”SEVENTEEN photo courtesy of HYBEFKA Twigs photo courtesy of Atlantic RecordsTom Odell photo by Rory Langdon DownWeve got to constantly think beyond our limits and beyond any traditional barriers or parameters for each and every artist.”MELISSA THOMASExecutive Vice President,Internat

86、ional Marketing,U.S.Repertoire,Sony Music EntertainmentWeve put tremendous effort into getting the best team on board to manage each project.”MARIE-ANNE ROBERTManaging Director,Sony Music France2120IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYIFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRY

87、globally to amplify them and take things to next level.”Access to these global networks also facilitates artists with the potential to create cross-cultural collaborations.This in turn can help domestic artists reach wider global audiences.Bello continues,“We have a broad network of artists,producer

88、s and writers around the world to draw from,which helps an artist find the right connections.Our A&R team will work with an artist to come up with an idea to collaborate to help increase their audience and global exposure.“Of course,that relationship has to be authentic,and we approach each collabor

89、ation case-by-case.A good example of Latin and European music working together is the track Dancarina,a collaboration between two Latin artists,Anitta and Pedro Sampaio,and the French artist Dadju.It was the first collaboration between French and Brazilian artists that did well here and reached the

90、Top 10 in France and#1 on the French Airplay chart.”Permal agrees,“As a company we try to bring our artists together.For example,if one of our German or Nigerian artists goes to Paris,we want them to meet our French artists or producers because you never know what could come out of that partnership.

91、”At the core of a record companys DNA remains artist and repertoire(A&R)the discovery and development of artists and their creative vision.The processes,platforms and skills involved in A&R continue to evolve and expand,albeit with recognisable fundamental roots which still show through.“I think tha

92、t in the second that you consider signing an artist,you should know the road to finding their audience.”“THE REALITY IS,WE HAD TO DO THE SAME JOB AS WE DO WITH EVERY ARTIST,WHICH IS THE JOB WERE HERE TO DO:DEVELOP THEM,BE PATIENT,THINK LONG-TERM.”The single biggest shift in A&R has been in how and w

93、here artists are discovered.In some instances,artists can be seen and known around the world in days based on a single track or a short-form video measured in seconds rather than minutes.For record companies though,this is still the starting point of a much longer game.Nick Burgess,Co-President of P

94、arlophone UK,recounts the story of breaking Sam Ryder see full Case Study on page 24.Sam had blown up on TikTok,and Burgess says that was how he first came to the labels attention.But that wasnt why he was signed.He says,“Were not a label that signs TikTok cover version artists.We set up some studio

95、 sessions and we signed Sam because we could see he had star quality and that hed built a connection with his audience,but then you add in the song-writing skill that became so evident early on,we just thought,this is what were in business to do:sign and develop artists like Sam.”The pre-existence o

96、f a large Tik-Tok audience played very little part in that development,“Someone who loves a song and wants to listen to it 100 times is not the same person Jean-Sebastien Permal,VP for A&R,Continental Europe and Africa,Sony Music Entertainment,discusses artist development as the ultimate partnership

97、 between record company and artist and also stresses the pervasive importance of long-term thinking.He says:“A successful artist and A&R relationship starts with a mutual understanding of what we are trying to accomplish from the get-go.“Thats why we like to have in-depth conversations and ensure we

98、 have the same understanding and chemistry with an artist and their teams right at the start.Because our job is to work for the artist,and we can only do that when we understand who they are and where they want to go.“Once an artist has signed to us,they entrust us with their career,with their life

99、goal and our job is to fight for that goal as hard as they do.And to adapt to them,because we are here to service them,not the other way around.We want artists to know that about us,even before they sign.”He also outlines the strengths of a record company when faced with the sheer volume of music be

100、ing uploaded daily across streaming platforms.“The need to grasp the attention of audiences is incredibly challenging and thats where the value of a record label comes into play,because we help artists cut through that noise using our expertise and all the tools at our disposal.”An integral piece of

101、 what record companies offer,in terms of discovering and positioning new artists,is still the experience and expertise of the A&R team.Konrad von Lhneysen,Managing Director,Embassy of Music,explains,“That side of what we do as an A&R department has never changed when we are discovering new artists.R

102、ight from the start we have to ask ourselves What do you hear in the music?What do you see in the artist?What is the special position this will have in the market and who is supposed to listen to it?Where can this artist go?who wants to listen to 15 seconds of a Whitney Houston cover.The journey fro

103、m TikTok to sustained streaming success is complex and nuanced.Huge swathes of fans dont just jump across from one platform to another.“The reality was that we had to do the same job as we do with every artist:develop them,be patient,think long-term.We had to build Sams career and this whole project

104、 as organically and authentically as we would with any other artist.”Kabiru Bello,VP,Global A&R,Warner Music Group,links back to a wider point about the increasing strength of homegrown talents and how a connected,global company can make a difference to an artist or track with unrivalled speed and s

105、cale.“Theres been a huge shift with local music having significant impact in domestic markets.Its something to which we pay close attention and share with our A&Rs around the world.As a team,we participate in A&R meetings across the regions to know what they have and are looking for in terms of arti

106、sts,songs,collaborations,and this way our A&Rs around the globe stay connected to build bridges for our artists.“My strategy is to be the global bridge for our A&Rs,where I want to keep them very close and make sure we catch the momentum with ideas,to act fast and activate our teams A&R:DISCOVERING

107、AND DEVELOPING ARTISTS AND THEIR MUSIC IN 2023 I think that in the second that you consider signing an artist,you should know the road to finding their audience.”KONRAD VON LHNEYSENManaging Director,Embassy of MusicRouge photo courtesy of Warner Music South AfricaAngele photo by Manuel Obadia-Wills2

108、322IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYIFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYSAM RYDER CASE STUDYSam Ryder was one of the biggest breakthrough UK artists in his domestic market in 2022,scoring a No.2 single with Space Man and a No.1 album with Theres Nothing But Space,Man

109、.The common perception is that his rise was built around two things:TikTok and the Eurovision Song Contest(Sam came second in 2022,with Space Man,losing thanks to an overwhelming public vote for Ukraines winning entry).Nick Burgess and Mark Mitchell,co-presidents of his record company,Parlophone,kno

110、w that the real story is rather different.Burgess says,“Sam did come to our attention via TikTok.And I thought,yes,great voice,great personality,interesting artist proposition,but were not a label that signs TikTok cover version artists.”He saw enough potential,however,to“get him in a studio,see if

111、hes got the writing chops”that would make the difference and seal the deal.Parlophone set up sessions with Amy Wadge and Max Wolfgang and the first track to emerge was Space Man.“We signed Sam because we could see he had star quality and that hed built a connection with his audience,but then you add

112、 in the song-writing skill that became so evident so early on and we just thought,this is what were in business to do:sign and develop artists like Sam.”The first big decision was to avoid the obvious route of releasing Space Man.Mitchell explains:“There was the possibility that it would have caught

113、 fire and almost run away from us,so that the song actually eclipses the artist,and thats not ideal when youre looking at long-term career development.”Burgess continues,“It helped that Sam was now writing more really beautiful songs,so we could put a handful of them out first,as singles and on EPs,

114、to start building his story.We wanted to let people discover Sam,his voice,his personality etc.in a more gentle way rather than maybe have one track dominate and overwhelm him.”Throughout the process,harnessing and interacting with the TikTok audience was in the mix,but wasnt a central pillar.As Bur

115、gess says,“Someone who loves a song and wants to listen to it 100 times is not the same person who wants to listen to 15 seconds of a Whitney Houston cover.The journey from TikTok to sustained streaming success is complex and nuanced.Huge swathes of fans dont jump across from one platform to another

116、.”Mitchell explains Parlophones next steps,“In the background we set up something called Open Stage-its essentially an email database through which we could start super-serving the most engaged element of Sams TikTok audience.We wanted to talk to the people who were actually interested in Sam as an

117、artist.It was a fraction of his TikTok following,but they were true fans.“The reality was,we couldnt just convert that audience,we had to do the same job as we do with every artist,which is the job were here to do:develop them,be patient,think long-term.”Burgess agrees,“We had to build Sam and this

118、whole project as organically and authentically as we would with any other artist.When the mainstream media did start to engage,they would quite often refer to him as a TikTok sensation,and that was something we have to fight against rather than encourage.We didnt want that notion to define or oversh

119、adow him.“And then,out of the blue,we got a call asking if Sam would do Eurovision.My initial reaction was,Hmmm,I dont know But then you look at Mneskins success the year before;it can be a jumping off point for a global rock act,so why not?The key thing is,they wanted Space Man.If it hadnt been abo

120、ut the song and Sam wed have said no.“Also,the thing is,wed sit in meetings and say,We just need to get him in peoples living rooms,hell take it from there.Because wed got to know him by then,we knew what a fantastic personality he had,how likeable he is,how positive he is;we knew,given half a chanc

121、e,the British public would fall in love with him and they did.”The day after Eurovision,Mitchell recalls,“there was obviously a sense of elation the event had been brilliant and Sam had been as great,but straight away we had to build on it,carry on the momentum.We didnt want Sam to now become the Eu

122、rovisionguy.”It was decided an album needed to come out before Christmas,with Burgess working closely alongside Sam and his team to meet the deadline.“We knew he was no one-hit wonder and we wanted to prove it as quickly as possible.“It was a very intense period.Sam is very exact,he doesnt just turn

123、 up do his vocal and leave,hes a proper artist involved in every step along the way.“And alongside that,everything the label and Sam did together in terms of marketing and promotion really nailed his narrative because it was authentic,thats why hes so amazing at articulating his story,because its al

124、l Sam.That all helped set the album up as an important debut from a genuinely interesting and exciting new British artist.”We had to do the same job as we do with every artist,which is the job were here to do:develop them,be patient,think long-term.”MARK MITCHELLCo-President,Parlophone RecordsSam Ry

125、der photo by Edward Cook2524IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYIFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYRecord companies are increasingly looking beyond the creative and commercial opportunities they can offer artists to ensure they provide a more holistic package of suppor

126、t.This includes considering an artists well-being and mental health.At Sony Music,this work comes under the umbrella of their Artists Forward initiative.Susan Moultrie,SVP of Artist Initiatives and Business Administration,explains,“Were constantly looking for ways that we can support our talent thro

127、ughout their careers,and as our industry continues to evolve and grow,so does our work.”“Our Artists Forward initiative serves as an additional,but vital,component to the traditional roles of finding,nurturing and developing talent.Key areas that it touches on include earnings enhancements,insight t

128、ools and educational resources.We want ARTIST WELLBEINGto be an effective partner to our creative community in the business as it is today and in the economic realities of today.”The initiative also focuses on artist wellness.Moultrie continues,“The goal with our wellness efforts is really to ensure

129、 that our artists feel,as much as possible,that theyre in a position to be at their very best as they proceed down their creative path.As part of this,we provide access to counsellors around the world,and they can have sessions with a licensed therapist,in person or virtual,depending on their need.T

130、he program is confidential-we dont get any details about the calls or the sessions.“So if ever one of our creators feels that they need to work through some personal challenges,theres someone they can speak to in that moment.”Selina Webb,EVP,Universal Music UK,explains,“We are always looking for way

131、s to support our artists and to help them be at their creative best.“Every artist that signs to one of our labels has the opportunity to check in with a counsellor.Maybe they want to talk about their relationship with social media,or they might need some additional support with the huge pressures wh

132、ich come with just being an artist-the volume of work,the intensity of the work,and the scrutiny.“Hopefully,they will go away with a very clear message:if you need any help or just a chat,anywhere down the lineits completely confidential,its separate from the labels and its always on,always there,if

133、 anything comes up.Because something will come up,being an artist,being in the public eye,especially with the pressure of social media,its a challenge.“And theres also specialised advice for staff working with artists.Because they may want some guidance on how to provide the best support.”Doreen Sch

134、imk,Co-President,Warner Music Central Europe,agrees with this approach to wellness,saying:“At Warner Music Central Europe,weve always upheld the strong conviction that good mental health is paramount for our artists,employees and our community.For both,we offer comprehensive measures and services.”F

135、abian Drebes,Co-President,Warner Music Central Europe,explains:“We can rely on our longstanding collaboration with the renowned mental and corporate health specialists at the Frstenberg Institut,whove made coaching,counselling and support with a holistic approach available to our employees,and now a

136、lso all to our artists with exceptional 24/7 access,and services in 16 different languages.”We are always looking for ways to support our artists and to help them be at their creative best.”SELINA WEBBEVP,Universal Music UKAlison Wonderland photo by Simply GPaul Partohap photo by Habibie Eka Perdhan

137、a2726IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYIFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYNEWOPPORTUNITIESNEWOPPORTUNITIESNEWOPPORTUNITIESNEWOPPORTUNITIESNEWOPPORTUNITIESNEWOPPORTUNITIESNEWOPPORTUNITIESNEWOPPORTUNITIESNEWOPPORTUNITIESNEWOPPORTUNITIESDISCOVERING NEW OPPORTUNITIES FOR

138、 ARTISTS AND THEIR MUSICRecord companies today are increasingly focused on helping to discover new opportunities for their artists to connect with their fans.Their music remains at the heart of this whilst the opportunities themselves expand into increasingly diverse areas.Looking top-down at the la

139、ndscape today,Michael Nash,EVP,Chief Digital Officer,Universal Music Group sees four main areas.“Social media,broadly defined,that continues to be the big prize in terms of opportunity.“Theres a constant evolution of platforms and were making a persistent push to ensure that our artists are fully pa

140、rticipating in the value that theyre creating on these platforms economically and accessing new ways to better connect with their fans.“Then there are opportunities to engage with super-fans.We see the opportunity with the devotion to vinyl.Very often it isnt making it out of its shrink wrap.Its les

141、s about how it sounds than about fans longing for a deeper connection with artists and we think growth in vinyl suggest a bigger opportunity with a variety of different products and propositions offered directly to them by the record labels,on behalf of the artists.“Another area to consider is healt

142、h and wellness.Theres a tremendous opportunity there.Digital fitness is really just the tip of the spear.“And our experience has been that the artists love being engaged in this area,theyre passionate about it.Because music effects everyones lives;it makes the world a better place.The potential to h

143、arness music in this space is incredible,and the artist community is very invested in that.“Finally,there are the new frontiers of Web3 and the metaverse.These are longer-term opportunities which are developing over the coming years.Web3 is going to enable new forms of digital collectibles,the manag

144、ement and gating of live experiences,the authentication of the super-fan relationship;a lot of very interesting things are going to happen there.”In order to help artists to capitalise on the growing array of opportunities in these new technology categories,Dennis Kooker,President,Global Digital Bus

145、iness,Sony Music Entertainment,explains that record companies are focused on building the necessary infrastructure and scale around the music experiences.This includes creating strategies and partnerships that support the creative and commercial success of artists,and investing in the systems to ena

146、ble more creators to engage with new platforms whilst tracking and understanding the impact they are having.“In all of these new areas,we want to do more than just react to the opportunity.We work with tech and gaming companies to create the right environment and develop business models and solution

147、s that benefit as many of our artists as possible both now and in the future.To deliver across our roster in a more scalable way,we do our due diligence when forging relationships with new partners,build out teams with the right skillset,and build back-end data and analytics reporting to judge wheth

148、er collaborations are successful.”ONE OF THE KEY ROLES THAT WE CAN PLAY IN SUPPORTING WHAT OUR ARTISTS WANT TO DO,IS TO GIVE THEM AS MANY OPTIONS AS POSSIBLEAngela Lopes,SVP,Strategy&Investments,Sony Music Entertainment,points out that record companies are able to identify and support new opportunit

149、ies for artists through their forward-looking strategies and investments.“We have teams around the world that continually monitor whats going on in different markets.They are dedicated to looking at the innovative technologies and business models that are coming up through the start-up community to

150、identify ways in which we can enhance those opportunities to support our artists.”She notes that Gen Z is a key demographic of focus as record companies look to build out future opportunities and experiences for artists.“Were seeing Gen Z want to embrace new ways of engaging with artists.There conti

151、nues to be a greater shift towards next generation platforms,and we are seeing a rise in revenue streams from new categories.”Fan communities also are playing an increasingly important role in evolving music experiences,she says.“We think a lot about how to help artists enhance their direct-to-fan r

152、elationships.Fan communities are a key part of engagement and conversations that happen in many new music experiences,and theyre also important drivers of new commerce opportunities for artists.”Lopes says that across their strategies and investments,record companies ultimately provide artists with

153、more choice of partners,services and solutions,plus greater bandwidth to create.She concludes,“One of the key roles that we can play in supporting what our artists want to do,is to give them as many options as possible,while also de-risking those options for them as much as possible,whether through

154、developed expertise,better economics or data insights.”We think a lot about how to help artists enhance their direct-to-fan relationships.”ANGELA LOPESSVP,Strategy&Investments,Sony MusicSebastian Yatra photo by Erick QuituizacaAimyon photo courtesy of Warner Music Group29IFPI GLOBAL MUSIC REPORT 202

155、3 STATE OF THE INDUSTRY28IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRY“WEVE BUILT A GLOBAL TEAM OF PEOPLE TO HELP GUIDE OUR ARTISTS THROUGH AN INCREASINGLY COMPLICATED LANDSCAPE.”Bob Workman,SVP,International Brand Partnerships,Warner Music and General Manager,WMX UK,emphasises the importance

156、of tailoring new opportunities around individual artists something that can only be achieved by having interests and expertise in a broad spectrum of developing sectors.He says,“Our artists have a wide palette of interests,passions,and skill sets,and thats reflected in the audience as well.We are th

157、ere to help our artists and their music,and ensure their creativity is heard,seen and consumed in many more settings than it would have done previously.We see this as critical and have worked to ensure that we have the global expertise,scale and relationships to be able to do that.“Thats where,certa

158、inly within the field of brand partnerships,theres lots of opportunity.Were often engaged in an area or activity that might not be fundamentally about the music.It might be a fashion collaboration,or it might be a values proposition,such as gender equality,or sustainability,or the environment.“There

159、 are more lanes to operate in than ever and weve built a global team of people to be super-aware of those things and to help guide our artists through an increasingly complicated landscape.”Naomi McMahon,SVP,Head Strategic Marketing&Partnerships,Universal Music Group,gives some insight into her depa

160、rtments reach and infrastructure.She says,“We have people operating across 40 markets-with a global focus on brand partnerships-and we have initiated more than 200 programs in the past year alone.“The focus is very much on creating broader strategic partnerships that our artists and labels can benef

161、it from,but then also going in on a domestic level to create local impact,which is important for those artists that maybe are just starting out in their careers.”She highlights the impact the pandemic had on brand partnerships.“Live music was cut off as an avenue and the value of brand partnerships

162、as a way to engage with fans catapulted.”The attraction for brands themselves,meanwhile,remains the same only stronger.“They understand the value of authentically connecting with audiences.Music is the number one passion point,right?Its the most powerful way for them to reach audiences and fans.“We

163、sit alongside that,really understanding what those brand partners are doing in music and what they want to achieve.Then creating opportunities for our artists that are mutually beneficial.“Whats great is that alongside this engagement from brands,weve seen artists leaning in in ways that they may ha

164、ve been reluctant to do so before,maybe because it was seen as a distraction,or the return wasnt there.Now were really seeing huge value when both parties come to the table and understand creatively and commercially what were trying to achieve.”She concludes,“I feel like were drawing new maps right

165、now.I love how what we do is becoming part of the norm and that there has been this natural integration of these non-traditional revenue streams into the mainstream commercial picture.”At Sony Music,global branding and design agency Ceremony of Roses works with the artist community to provide mercha

166、ndise development and services.Brad Scoffern,Founder&CEO,Ceremony of Roses says that retail and merchandise operates as an increasingly important extension of an artists brand and creates another way to connect even further with a global fanbase.Chief Business Officer at Ceremony of Roses,Mary Healy

167、,explains,“I think when you look at the pie chart of an artists career,it used to be that you could rely fully on your recorded music and touring as your revenue streams.In todays world there are huge benefits in having a much more diversified pie chart,and brand and merchandise is a huge part of th

168、at.”Thats why,Scoffern says,music companies today are focused on how merch opportunities fit into the larger equation of an artists career,and is why they look to ensure that authenticity and the artists vision is front and centre in products and branding.He continues,“We strive to have very deep re

169、lationships with the leadership of labels,in addition to close relationships with artists and their management.The sooner we can work with an artist and align on what their identity is and start consistently communicating it on merchandise,on their website,on socials and so on,the more successful th

170、e partnership will be.“There has to be a creative vision that runs through everything associated with an artists brand identity-the logo,the touring branding,the single artwork,the album artwork,what the artist is wearing.Its beneficial for artists if theres consistency running through all of that.”

171、Healy points to the companys work with Columbia Records artist Dominic Fike as an example of developing merch opportunities with an artists vision.“One of the things that he said in the first meeting was nobody really needs another T-shirt.Sustainability is whats key to him.So he came up with an ide

172、a to do some upcycling,and Ceremony of Roses acquired vintage t-shirts and screen printed over them with Doms new art.The result was a more sustainable and unique item for his fans.”She adds,“We really want artists that we work with to feel like were a creative partner,not a vendor.I think thats the

173、 hallmark of our relationship with our roster.Were not just a transactional one and done.We really build and work with them 365 days a year.”Chris Onyekweli,High Street Retail Account Director,Warner Music,says:“We want to try and be involved with the artists right from the start,so we can educate a

174、nd strategise with them.And,of course,the bottom line is that the artist gets approval on everything they do;theyre in full control.“Its a partnership model.We mostly drive the ideas,but either side of that,at the planning stage,we make sure we understand who the artist is,what they want to do,what

175、sort of partners theyre interested in,and then at the other end they ultimately say yes or no to everything.“We work with 400 licensing partners and sell to around 200 different retailers with more than 60,000 individual stores worldwide,from the likes of Swedens H&M,through Hot Topic from the US,to

176、 Australias Cotton On.The great thing for artists is that they can just plug into that ecosystem.”“And then theres a sales team that focuses heavily on maximising all opportunities.We deal with the logistics,the paperwork and since Brexit thats become so much more complicated.Thats all there for the

177、m and taken care of for them,by best-in-class teams.”We are there to help our artists and their music,and ensure their creativity is heard,seen and consumed in many more settings than it would have done previously.BOB WORKMANSVP,International Brand Partnerships,Warner Music and General Manager,WMX U

178、KThe focus is very much on creating broader strategic partnerships that our artists and labels can benefit from.”NAOMI MCMAHONSVP,Head Strategic Marketing&Partnerships,Universal Music GroupLizzo photo by Luke GilfordLil Nas X photo by Kaito3130IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYIFPI

179、GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYITS ABOUT SITTING CALMLY FOR TWO HOURS AND GETTING LOST IN A WORLD,GETTING IMMERSED IN AN ARTISTS STORY.”Whilst the rise in short-form video has been well-documented,theres no denying that this is also a golden age for feature length video,particularly m

180、usic documentaries,which provide unique ways of telling artists stories in-depth.Alice Webb,CEO,Mercury Studios,Universal Music Group,says,“People absolutely still love long form,because I think it feeds a very different need in audiences.Short-form feeds a kind of participation,that idea of leaning

181、 in and wanting to be involved.Long-form needs a different state.Its about sitting calmly for two hours and getting lost in a world,getting immersed in an artists story.”Mercurys two highest profile projects over the last year or so have been the four-pronged My Life as a Rolling Stone series(featur

182、ing extended profiles of Mick Jagger,Keith Richards,Ronnie Wood and Charlie Watts)and If These Walls Could Sing,Mary McCartneys history of Abbey Road.A lower-profile project,Mars,was created in partnership with a newer artist,Yungblud,and shows how Mercury can be used to help fulfil a creative visio

183、n.Webb explains,“Im really proud of that.It was inspired by and created with Yungblud,from one of his songs,also called Mars,which in turn was inspired by a young trans fan he met on tour.“It was a kind of a love letter to Northern Britain.It was filmed in Blackpool,set in Blackpool,and around a tra

184、ns youth support group.Its a story of joy and identity and discovery and kids and northern England,a really important story.”Generally,she says,“Were here to back artists creativity and be a facility to express themselves through the visual medium in a way they arent able to do within their labels”,

185、adding that“creative freedom is the name of the game,theres no tie-up between an artists record contract and their work with us,and what were definitely not here to do is create marketing materials.“There are now something like one million sync opportunities a year,and to stay on top of that you nee

186、d scale and you need a global approach.”Another well-established marriage between sight and sound is sync a sector that has become more global,more complicated and more commercially significant in recent years.Tim Miles,SVP Sync,UK and Europe,Warner Music Group,says,“So many of our partners now are

187、global from streaming services such as Netflix to the big gaming franchises,and our strategy has to reflect that.Were now completely joined up around the world,where everything used to be very,very local.“I think from a label perspective weve never been more of a service industry.We are a community

188、of experts that can add real value.This idea of being a DIY artist is fantastic,but I still subscribe to the fact that you need experts,and you need that network in place.“Sync is all about networks.Its about knowing the film studios,knowing the game developers,knowing the agencies,and having the ex

189、perience to know when to push and pull.Ive seen lots of people fail at sync because they have smaller catalogues,and they therefore send the same music to the same people over and over again.“Then,once you get past the creative side and the placement of songs,theres a really complicated clearance pr

190、ocess.Plenty of people can go and agree to put a song in a movie,but can they help get the publishing cleared?Can they track down the sample that needs clearing?We handle the whole thing.So many of our partners now are global from streaming services such as Netflix to the big gaming franchises,and o

191、ur strategy has to reflect that.”TIM MILESSVP,Sync,UK and Europe,Warner Music Group“Due to an explosion of content,there are now something like one million sync opportunities a year,and to stay on top of that you need scale and you need a global approach.”The biggest sync of 2022 was Kate Bushs Runn

192、ing Up That Hill in Stranger Things.Miles reflects not just on that success but what it says about the strength and future of the sector.“Its the biggest sync ever.By that,I mean its transcended even what a typically successful sync would do:its turned a song that was 37 years old into a global hit.

193、“The numbers dont lie.I think its at about 900 million streams on Spotify at time of writing,so its going to hit that exclusive billion-streams club.Theres never been a sync that has been responsible for such traction on streaming services,on radio,in peoples lives.“But I think whats really interest

194、ing is its shone a light on the sync industry and its shown people why its really important to pay attention to our sector.Im saying it in a really positive way,because sync could be overlooked in the past,particularly from a catalogue perspective.“Its shown some of our artists just how powerful TV

195、and film can be for them,and how in the age of streaming a spark from sync can cause a forest fire that wasnt possible 10 years ago.In that sense,I think it will have a really powerful legacy.”Kang Daniel photo by Konnect EntertainmentArijit Singh photo by Team Arijit SinghBack Number photo courtesy

196、 of Universal Music GroupSury Su photo courtesy of Sony Music3332IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYIFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYSTEVE LACY CASE STUDYSteve Lacys first project as a solo artist,Steve Lacys Demo,was an un-assuming,no-frills debut made predominantl

197、y on an iPhone and put into the world in February 2017 as an independent release.This didnt prevent it being heard,and instantly loved,by Peter Edge,Chairman and CEO of Sony Musics RCA.He says,“Ive been a fan of Steve Lacy since I heard Demo and Dark Red,which was one of my favourite songs in 2017.“

198、I was also a massive fan of The Internet,the group he started with.Through his manager,Dave Airaudi,I met Steve and we decided to partner to work together on new music.”Drawn in by the music rather than data,Edge continues the story,“Steve is a unique and extraordinarily talented musician,and a guit

199、arist-which is highly unusual especially in the space that he works in.“Hes melding R&B and Rock and all these multi-genres in his sound.I thought he was a completely new prospect and an incredible talent.“From day one,Steve had complete freedom to do whatever he wanted.It was and continues to be a

200、total partnership and we are here to support Steves artistic vision and genius in the best way we can.”Going back to day one,or somewhere near,RCA COO John Fleckenstein,says,“For us,this launch had to be elevated but also consistent and respectful of his journey and fans so far.Steve had already bui

201、lt enormous credibility in the creative and music communities and curated a super loyal set of fans who were willing to ride with him to any frontier.“So,when it came to strategising on how to reach them,a major piece was consistency.We also brought scale.We helped elevate the world around his music

202、,we sought to elevate everything from how we introduced the music for the first time all the way to our drive to the top of the industry charts after release.The game-changing track was Bad Habit 800 million+streams to date.Edge recalls its rise to prominence,“We always knew it was a key track,but n

203、obody can ever predict the kind of success that it had or how explosive it would become.“Bad Habit is an extraordinary success story;the kind that you only dream about which made it all the more thrilling.But Steve felt very strongly and so did we about Mercury being the opening single.“It was somet

204、hing very different for him and he really felt it should be the first song that people heard from his new album,followed by Bad Habit.Fleckenstein continues,acknowledging the part that short-form platforms played in Bad Habits ability to reach his fans,“The song was a genre-defying breakout.If you d

205、ug into what was happening on short form-not just TikTok but on Reels,Shorts and all these platforms,you saw fans loving the song.“The truth is,Steve has immense credibility with a young,short-form video-loving fanbase.“Steve speaks to that audience fluently where they are hanging out.He gave them s

206、omething fantastic and they created their own tributes in droves.”With Bad Habit as an accelerator,RCA continued building Lacy as a long-term artist,knowing that the next album Gemini Rights was a pivotal career moment.Fleckenstein discusses the process,“The plan started with complete creative freed

207、om and time in the studio to make something truly great.Then,when he was ready,the cornerstone of the plan was exacting detail around his credibility matched with set up and strategy on the body of work.“With partners,with international affiliates,with media everyone who could help his vision be hea

208、rd globally was included in that set up process.International coordination and providing a global platform in particular was a huge priority and critical in our set up.”The album went Top 10 in the US and won the Grammy for Best Progressive R&B Album in early 2023.Fleckenstein continues,“In the soci

209、al media sphere,its about staying authentic to his audience and meeting them eye to eye where they live.Steve has a lot of friends in the creative community.These friends were loud with their followers and fans on socials.This shone a light on the path ahead.“Steve himself uses social media to commu

210、nicate his wit,creativity and personality and I think this clarity of voice is a major piece of his authenticity today with fans.”Edge concludes by reflecting on the albums international success,“Steve came to New York to connect with the entire Sony Music International team and spent time with him

211、to build that network which undoubtedly helped propel his global presence.These opportunities are what you dream of in building a worldwide campaign.“The Sony Music international team were big believers and fans from the start,which was crucial to the global success story.”From day one,Steve had com

212、plete freedom to do whatever he wanted.It was and continues to be a total partnership and we are here to support Steves artistic vision and genius in the best way we can.”PETER EDGEChairman&CEO,RCASteve Lacy photo by Julian Klincewicz3534IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYIFPI GLOBAL

213、 MUSIC REPORT 2023 STATE OF THE INDUSTRYOne area of opportunity that is still being defined is artificial intelligence(AI).It is a subject that currently sits at the top of the mainstream agenda,in culture and technology.Dennis Kooker weighs things up:“Were supportive of uses of AI where it can help

214、 us to work smarter,for example,in helping us to support artists in analysing and understanding fan engagement trends.This is where AI is already a key component to the business and can play a really positive role.“But there are other applications of AI that increasingly seem oppositional to the ess

215、ential human factor at the core of artistry and originality that makes music so incredibly unique and beautiful.“In particular we have serious concerns about the potential for AI-synthesized voice technology to be used at scale to cover songs and attempt to replace artists.This is something that we

216、need to watch very closely.ARTIFICIAL INTELLIGENCE:DEFINING ITS PLACE IN MUSIC“Ultimately,we are on the side of artists and their music.Our focus is on building their careers and supporting the authentic connections they want to make with their fans.”Michael Nash continues in a similar vein,“AI brin

217、gs significant innovation potential for our artists.It can be used to help us identify new audiences for our artists in different markets around the world,enhance the quality of music experiences in terms of immersive sound and it can help really optimise technical aspects of audio production too.“H

218、owever,when youre talking about generative AI,theres a real significant risk for the entire creative community.Were talking about upholding the rights and interest of artists here,and about a threat to the community across categories.“Most of these AI systems acquire the essential base of knowledge

219、from which they develop their own IP by essentially training on vast quantities of copyrighted content.And theyre not providing any compensation to the people who produce that indispensable source material.“The bottom line is,a lot of AI developers are just ignoring the ethics of ingesting the creat

220、ive work of others,or theyre simply justifying it with what we view as a dangerous distortion of the idea of fair use,that is absolutely not going to hold up.“Were really excited about all the innovative ways that AI developers who respect artistry are moving culture and the industry forward.Theres

221、an incredible opportunity there.But unless creators are respected and properly compensated when and if their works are used to train AI,then youre going to see the worlds creative community potentially suffering a lot of damage in the evolution of generative AI.“I would put that at the top of a list

222、 of industry issues because we need people to understand whats going on right now.We need to work very hard to define new models so that we can enable generative AI without looking away from what is essentially going to be wholesale hijacking of the intellectual property of the entire creative commu

223、nity.”Ultimately,we are on the side of artists and their music.Our focus is on building their careers and supporting the authentic connections they want to make with their fans.”DENNIS KOOKERPresident,Global Digital Business,Sony Music EntertainmentWere really excited about all the innovative ways t

224、hat AI developers who respect artistry are moving culture and the industry forward.”MICHAEL NASHEVP,Chief Digital Officer,Universal Music GroupSauti Sol photo by Elie Obati37IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRY36IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYGLOBALGLOBALGLOBMUSICM

225、USICMUSICMGROWTHGROWTHGROWDRIVINGDRIVINGDRGLOBALGLOBALGLOBGLOBALGLOBALGLOBDRIVINGDRIVINGDRMUSICMUSICMUSICMGROWTHGROWTHGROWGROWTHGROWTHGROWMUSICMUSICMUSICMDRIVINGDRIVINGDRNogizaka46 photo courtesy of Sony Music Labels Inchave portable music with them at all times.And with this access has come a massi

226、ve expansion of music services,some free and some paid.This in turn has fuelled our investment into more markets,genres,and ultimately artists,than ever before.“What is most exciting,however despite all of our phenomenal industry growth over the past several years is that in many ways we are still a

227、t the beginning stages of the development of this ecosystem on a global basis.There are literally billions more consumers we expect to enter in the coming years.”LOCAL CULTURES DRIVING MUSICS GLOBAL GROWTHAs the music industry continues to grow globally,countries and regions are becoming increasingl

228、y interconnected whilst maintaining a strong sense of their own creative and cultural identity.As Adam Granite,Universal Music Groups CEO,Africa,Middle East and Asia,outlines,“First and foremost,music has always been incredibly important to cultures around the world literally since the dawn of civil

229、isation.What we are now witnessing,helped by the expansion of the smartphone,is the explosion of accessibility billions of people around the world now Simon Robson,President,International,Recorded Music,Warner Music Group,explains that whilst growth continues around the world,music markets in differ

230、ent countries are at different stages of development.This in turn requires different priorities and demands different strategies from the record companies that are engaging and investing in them.“When we look at the global market,we see the strong growth coming from areas such as Asia,Latin America,

231、MENA and Sub-Saharan Africa,where emerging markets are continuing to grow andevolve.“We are looking aggressively at all opportunities to invest in those higher-growth markets ensuring we tailor our approach to each one.At the same time,we need to maintain our commitment to more established markets.I

232、ts a hyper-competitive world out there,and with domestic music being such a crucial part of a markets growth story its so important that we look at all opportunities.”Shridhar Subramaniam,President Corporate Strategy and Market Development,Asia&Middle East,Sony Music Entertainment,adds:“We see diffe

233、rent markets in different Its a hyper-competitive world out there,and with domestic music being such a crucial part of a markets growth story its so important that we look at all opportunities.”SIMON ROBSONPresident,International,Recorded Music,Warner Music Group Rema photo by Richie Igunma 3938IFPI

234、 GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYIFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYstages of development.Countries such as China and South Korea have significant growth of fans paying for streaming.The paid ecosystem is established,and now the challenge is to look at the value of musi

235、c on streaming and social media platforms.“Then you have a group of other countries,predominantly in Southeast Asia,where the paid music ecosystem is established but nascent.They have a lot more headroom in which to increase the paid user base.When youre talking about countries with populations in t

236、he hundreds of millions,thats a significant opportunity.of how were continuing to see repertoire from that part of the world grow and its very exciting.”The Latin American region saw its thirteenth consecutive year of growth with its market now worth US$1.3 billion.Afo Verde,Chairman&CEO Latin Ameri

237、ca,Spain&Portugal,Sony Music Entertainment,highlights some of the challenges to this continuing in a sustainable way for the future,“There are a number of wider challenges for our region including political instability and inflation,but ultimately,we have a healthy,growing music ecosystem.The most i

238、mportant thing for us is that people realise that theres a value to the music they love,and subscribing ensures its longevity and sustainability.”In the regions largest single market,Brazil,Leila Oliveira,President,Warner Music Brazil,says,“Were still feeling extremely positive about the music marke

239、t here.Were seeing some slowing in the growth of streaming,but other areas,such as brand partnership,opportunities are growing strongly.”Oliveira also highlights growing engagement with streaming beyond Brazils two biggest cities,“Streaming is long established in So Paulo and Rio,but for the last tw

240、o years weve seen strong growth in regions such as Northeast Brazil,which is home to some 60 million people.“And,of course,Latin music continues to be so relevant globally and an increasing part of the worldwide business.We were hugely proud when Anitta became the first Brazilian star and first solo

241、 Latin female artist to top the Spotify global chart.”Vanessa Picken,Chair and CEO,Sony Music Australia&New Zealand,reports that over 70%of households in Australia and more than 66%in New Zealand are now paying for music subscriptions and that the focus is now“looking at other ways to increase reven

242、ues for our artists to build on the rapid growth of previous years.”She continues,“There are external factors,mirroring global patterns,of inflation and rising interest rates,which mean we need to shift quickly in terms of how we do business differently and how we capture a good share of a decreasin

243、g pot of discretionary spending.“The growth of paid subscriptions has been hugely significant and has given us a really healthy base,but we need to continue being smart and diverse in our thinking when it comes to giving our artists the best possible opportunities to build and sustain careers.”“Ther

244、e is this third group of countries such as India and potentially Egypt,which have very large populous markets who predominantly use ad-supported streaming services and are yet to move to a paid ecosystem.When that happens,you will see a big surge in market growth.”Subramaniam concludes,“So theres a

245、journey for these countries in Asia and the Middle East to go on,and we take a bespoke approach in each case to make sure these markets continue to grow and benefit the whole music ecosystem of artists,creators and labels.”Granite highlights Southeast Asia as another positive story:“As these emergin

246、g markets continue to bring new users into our ecosystem,we will continue to see both the subscription and ad-supported sides of the business grow.“Weve seen an explosion in short-form video platforms across the region music is obviously central to short-form platforms entire business model and that

247、 is helping to drive both engagement and revenue.”In Africa,Temi Adeniji,Managing Director,Warner Music Africa,highlights the growing importance of brand partnerships and investments in the live industry across the continent,alongside a possible increase in ad-supported music revenues.“Across the co

248、ntinent,were seeing users switch from traditional media to digital platforms.That shift is benefiting artists and music as theyre at the heart of mainstream digital platforms from audio streaming to short-form video.“A challenge for the music industry as a whole is to convert users from ad-based ser

249、vices to paid subscription.In South Africa,for example,we only have around four million paid subscribers in a country of nearly 50 million people.So,we have to make sure that more ad-based services act as a funnel to subscription.”Granite also highlights Nigeria as a country that continues to produc

250、e break-out artists,“Nigeria remains an incredibly vibrant market for repertoire that continues to find new audiences around the world.”He goes on to highlight the Nigerian rapper and singer Rema(whose track Calm Down featuring Selena Gomez spent 11 weeks at the top of IFPIs newly launched MENA regi

251、onal chart from November 2022 into early 2023)as an example of this.“Hes had a huge year and continues to have great success.He is distributed by our independent label services businesses,Virgin Music Label&Artist Services,working in close partnership with Nigerian label Maven Records.Virgin deliver

252、s our premium artist and label services to independent artists and labels.Its a great example The important thing for us is to have local people who truly and authentically understand the music and artist culture on the ground.”AFO VERDEChairman&CEO Latin America,Spain&Portugal,Sony Music Entertainm

253、ent Anitta photo courtesy of Warner RecordsStray Kids photo courtesy of JYP Entertainment4140IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYIFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYNOGA EREZ CASE STUDYDiscussing how independent German label City Slang broke Israeli artist Noga Erez,Fou

254、nder&CEO Christof Ellinghaus mentions“five years of not sleeping”,“a white knuckle ride”and“an unhealthy degree of expenditure”.He also leaves you in no doubt that he enjoyed every minute and considers the entire process more than worth it.Similarly,there is something of a reality gap when he talks

255、of Nogas subsequent success by saying“somehow it all fell together”the throwaway phrase covering for five years of commitment and passion,slog and strategy,but most of all persistent evangelising based on belief in an artist.It is also true,however,that,as with many A&R success stories,this one star

256、ts with a bit of luck.Ellinghaus recalls,“We were looking at another band,Son Lux,and while we were looking at some of their videos,we came across one by someone wed never heard of,Noga Erez,doing one of their songs,Weapons.“We just fell for her and fell in love with her voice straight away.She play

257、ed piano,she played in some jazz band,but she was also doing this beautiful,dark,Electro Pop.We flew to Israel,we met her,we saw a show and we did the deal.”City Slangs first move was to bring Noga to Europe to play shows,securing tour support slots and shows in major capitals such as London,Paris,A

258、msterdam and Berlin.“That gained more ground than streaming”,says Ellinghaus,with the major DSPs not that interested at first.“We actually spent way too much”,admits Ellinghaus,“but we just thought this artist had everything:the talent,the songs,the looks,the attitude.She needs to be noticed,she has

259、 to connect it didnt connect!”Nogas first album,Off The Radar 2017 garnered critical praise,but made little commercial impact.Ironically,whilst the major streaming platforms still werent on board,it was the placement of a major Apple Music sync that helped sustain the campaign.“We took that money an

260、d we made more videos,played more shows,just continually re-invested.”The turnaround started as Noga embarked on the recording of her second album,Kids 2021.Ellinghaus says,“We did something we dont usually do:as soon as she gave us a song,we made a video and we put it out.We just kept feeding conte

261、nt out there.“Sometimes thats what the job is.You have to shout,you have to create opportunities and stories.The radio is ignoring you,the streaming services are ignoring you,but you build a case that is undeniable.“At the same time,we realised that we needed to be patient.Wed been too eager.It was

262、for a good reason,because we were so passionate about the music and we believed so much in Noga,but we accepted that we would have to wait.“In fact,that wait,and the fact that we kept supporting her,kept putting out everything she did,I think,gave her the confidence to explore her creativity even fu

263、rther,and that was what helped really find her own sound and her own voice.”Fuelled by the flow of content(and partly by the COVID pandemic),City Slang switched the marketing emphasis to the digital sphere and got traction on TikTok and Instagram.There was a live-streamed concert that built the mome

264、ntum and,eventually,a slot on Jimmy Kimmel was secured,while Billie Eilish sang her praises on her Apple Music radio show.Nogas second album,Kids,came out in 2021 and,as Ellinghaus puts it,“from that moment on,somehow it fell together.”He continues,“We finally got support from streaming services,Bri

265、tney Spears posted a clip of her dancing to one of Nogas tracks,it was a whole series of things just fell into place.”There has since been a Missy Elliot collaboration on the remix of Nogas song,Nails,and a support slot with Florence and the Machine at Madison Square Garden.Both were at least partly

266、 made possible by Slang City doing a deal with Atlantic Records,who will distribute future releases.Ellinghaus says,“Were at the stage where we need bigger guns and more connections.Thats what working with Atlantic can bring to the project and it will be interesting to see where we can take it from

267、here collectively.”You have to shout,you have to create opportunities and stories.”CHRISTOF ELLINGHAUSFounder&CEO,City SlangNoga Erez photo by Dudi Hasson43IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRY42IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYWarner Musics Nicholas Cheung,Regional D

268、irector,Hip-Hop and R&B,Asia,also considers the need for authenticity and accessibility as he reflects on the emerging Hip-Hop scenes in his region,“I think when Hip-Hop in Asia really reflects the local culture and ways of life here,it becomes interesting in a way thats not just replicating the Hip

269、-Hop that comes from the West.Theres this local superstar rapper named VannDa based in Cambodia.He comes from a refugee family that had to go through some really difficult things.“He mixed a lot of the traditional elements with new Hip-Hop elements,and he rapped about what hed been through.Its still

270、 Hip-Hop,but its something different and not a replication of whats in the West.“The more of these artists who come along,who stand really strong behind their culture and where they come from,I think that can evolve into something truly unique-Hip-Hop,but with its own voice and style.”He also credit

271、s the culture of Hip-Hop with adding a new energy to the wider Asian music market.“Hip-Hop has risen as a phenomenon in Asia over the last five or six years.To some people,that came out of nowhere and introduced not just new sounds but new ways of breaking artists and marketing music.”“Who knows,fiv

272、e to ten years from now other Asian music cultures One of the key characteristics of todays global music industry is the strength and success of domestic music.Alongside the opportunity for fans to engage with repertoire from almost any part of the world,there is an increasing trend towards embracin

273、g and celebrating local artists and culture.Underpinning this growth is the ongoing investment of record companies,which continue to build partnerships and develop local teams best placed to work with current and emerging artists from a growing variety of music scenes.Says Dennis Kooker,President,Gl

274、obal Digital Business,Sony Music Entertainment,“What were seeing in todays industry is domestic music increasingly driving engagement in the streaming economy.This is something we directly support with teams on the ground and by using our global expertise in every market to invest in more artists in

275、 more countries.This ultimately helps artists maximise the creative and commercial opportunities they have available to them.This in turn produces more opportunities for fans around the world to discover music that feels most relevant to their lives.”Adam Granite,Universal Music Groups CEO,Africa,Mi

276、ddle East and Asia,expands:“Local repertoire has always been central.What we are actually experiencing for the first time is the ability to monetise this repertoire.If you were to go back 20 or 30 years ago and listen to the radio in any local market,you would have heard domestic repertoire in local

277、 languages,reflecting local culture.Unfortunately,the monetisation of this repertoire was very challenging particularly in emerging markets where the costs to create,manufacture,distribute,and ultimately sell this repertoire were simply too high.Beyond that,copyright law was not where it needed to b

278、e especially in some of the most populous countries on the planet,and while weve seen progress in key territories,there is still more to do to strengthen copyright in markets such as India.“However,it is certainly true that it is significantly easier for artists to create music,have their rights pro

279、tected,and with digital distribution and the growth of the smartphone,monetise it.I want to be clear this didnt just happen.It has been decades of work as an industry to get to this stage and it continues every day.”“THERE ARE SO MANY GOOD DOMESTIC LABELS IN SOUTHEAST ASIA.AND AS AN INTERNATIONAL RE

280、CORD COMPANY,WE NEED TO BE COMPETING ALONGSIDE THEM,BECAUSE THOSE MARKETS ARE SO IMPORTANT.”At Universal Music Group,Calvin Wong,the companys CEO,Southeast Asia and SVP,Asia,explains that prioritising domestic success is an important starting point to their artist relationships,“We cant just tempt a

281、rtists with the promise of an international career,we must first be focused on their domestic success.And then from there we can look at other territories and think about global impact.”To enable this,the right people need to be brought on board,Wong continues,“Were spending a lot of time and effort

282、 adding new,talented,local executives to our teams.This is crucial as we are seeing a generational change in terms of artists,and we must relate to this next generation.The way to do it is to find and develop brilliant young executives in every country.”He goes on to stress the importance of record

283、companies staying true to their core values in fast-developing territories as much as they are in their traditional strongholds.“We have to continue to build artist development stories.Yes,there are artists who can have a number one hit because a track goes viral.Great,what next?Thats the question w

284、e must answer.We have to use the viral hit as a catalyst to build a career,not see it as a goal in itself.“We tell the artists story,we talk about who they are and where they have come from.When people start to understand more about the artist,theyre more likely to engage with the music.”THE GLOBAL

285、STRENGTH OF LOCAL REPERTOIREIt has been decades of work as an industry to get to this stage and it continues every day.”ADAM GRANITEUniversal Music Groups CEO,Africa,Middle East and AsiaCairokee photo courtesy of Sony MusicDBN Gogo photo by Sfundo MajoziVannDa photo courtesy of Warner Music Group45I

286、FPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRY44IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYincluding Hip-Hop might become normalised in the same way that K-Pop is a normalised Western scene now.”The increasing impact and influence of domestic music is being felt in established European m

287、arkets as well as emerging regions.Marie-Anne Robert,Managing Director,Sony Music France,says:“In 2022,we grew from 44%local artists in our Top 200 to 60%-and its a trend that is still growing.“This year,in particular,we saw a rise in engagement with Latin repertoire alongside domestic Hip-Hop which

288、 is still the most prominent genre,making up half of the Top 200.But in my opinion,you cannot categorise Hip-Hop as one genre anymore,its so diverse.”In Africa,Temi Adeniji,Managing Director,Warner Music Africa,highlights the rise of a genre thats been growing in influence over the past few years.“T

289、heres been tremendous growth and focus on Amapiano,a genre from South Africa,in the last couple of years.It reminds me of where Afrobeats was maybe five years ago when people were just starting to understand it.“Its interesting as its not melody based,its very much vibes and rhythm,and there are no

290、real hooks that people can sing along to,its not like a standard melody template.But people are really engaging with the music.Now were seeing crossover hits in markets such as Nigeria with artists incorporating a lot of Amapiano elements.I think that means were going to see an infusion of Amapiano

291、elements into the scenes in other countries.Its definitely going to be interesting to watch the trajectory over the next few years.”In terms of mainstream success,the growth of domestic repertoire is probably more accelerated in MENA than anywhere in the world.“WERE CONFIDENT THAT,WITH OUR PARTNERS,

292、WE CAN BUILD AN ECOSYSTEM THE EQUAL OF ANY IN THE WORLD.THATS WHY WERE SIGNING MORE LOCAL ARTISTS THAN EVER BEFORE.”Ahmed Nureni,General Manager,Warner Music Middle East,says,“The diversity of musical genres is growing rapidly and each region in the Middle East and North Africa has its own creative

293、musical soul.Our local teams are closely engaging with these newly rising genres with a focus on discovering,developing and helping the artists within them build their careers locally and across the region.“Were signing new and established artists in the Middle East and North Africa,while building a

294、n ecosystem using our international experience to support the different local Arabic music genres.Artists from our region are hugely creative and we know that we can help them enjoy massive hits by forging collaborations with other performers,as well as the best producers and songwriters.”Nureni ref

295、lects on the opportunities for artists to build relationships with fans outside their home country to build international careers,“Were ambitious about the scope for cross-cultural collaborations.Lately,weve seen several successes stories within the region,having a Saudi artist working with an Egypt

296、ian composer,or a Lebanese artist partnering with a Moroccan producer.Were looking forward to expanding such collaborations on a global scale.”“Music from the region is starting to get more international traction,often initially driven by Arabic diasporas,but with fans of all backgrounds discovering

297、 our great sounds.”Simon Robson highlights a further dimension to the growing strength of domestic artists,explaining how music fans from large populous countries can propel an artist to global recognition,“Were working with an Indian artist,King,and have achieved a scenario where his track has made

298、 it into the global top 25 on particular streaming services.This has predominantly been driven by a growing number of fans in India engaging with the music.I think this is the sign that Indian music will have an increasing impact and influence on the global charts.Kings success highlights that.”One

299、region that has seen its music break on a truly global level is Latin America.Afo Verde believes,however,that first and foremost,investment needs to be made locally.“The important thing for us is to have local people who truly and authentically understand the music and artist culture on the ground.W

300、e recently acquired the Brazilian company Som Livre.Instead of integrating it into Sony Music Brazil,we kept the two companies operating independently in the country.This means we can support more artists in Brazil and give them more time,more investment and be closer to more projects.“With more peo

301、ple you can deep-dive into the culture in a more effective way.You can go to different places.We are not just signing artists from So Paulo and Rio de Janeiro;we can be in more places in the country and closer to every corner of the culture.Its very cool.”Afo Verde concludes with a message to fans d

302、iscovering Latin music for the first time,“If you are curious about Latin music please dive in and dive deep because its amazing what youre going to find.The quality of the music in Latin America is spectacular.”Were signing new and established artists in the Middle East and North Africa,while build

303、ing an ecosystem using our international experience to support the different local Arabic music genres.”AHMED NURENIGeneral Manager,Warner Music Middle East David Guetta photo by Dan ReidTems photo by Roderick EjuetamiNino Freestyle courtesy of Universal Music Group4746IFPI GLOBAL MUSIC REPORT 2023

304、STATE OF THE INDUSTRYIFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYFUJII KAZE CASE STUDYBy the time that Japanese singer-songwriter Fujii Kaze signed to Universal Music Japan in 2019,he had been uploading piano/vocal cover version videos to YouTube for a decade.And it was the buzz from these vi

305、deos that led to a meeting that,in turn,led to his record deal.Deputy Managing Director of Universal Sigma,Universal Music Japan,Mitsuhiro Higashikosono,explains how the A&R process then kicked in:“Kaze had a collection of original songs.They sounded wonderful.Then we started talking to him about ho

306、w we could add value as a label by bringing in the best producers to take them to the next level.“Of course,we could only do this by really understanding Kaze and the artist that he wanted to be.He is such a massive talent we could already see his genius as an artist so the first and most important

307、part of our job was to understand his vision.It was only when we truly understood what he wanted to do and where he wanted to go that we could really help him achieve that.As our chairman Sir Lucian Grainge always says:the artist must be at the centre of all we do.”After diving into Kazes music,styl

308、e,and vision,Universal Music Japan worked to align Kazes goals with his overall artist strategy.Higashi continues:“Kaze has been performing on YouTube since he was a kid and we wanted to continue to value whats important to him by continuing that journey and building it even further.Normally in Japa

309、n when you are first looking to build an artists audience,you would look to put them on TV and arrange media interviews,but we didnt do any of those things.“Instead,we chose to focus on what was Kazes key priority at that point in his career;that was YouTube,the tool he was most comfortable using to

310、 talk to his fans.So thats where we put our focus followed by other social media rather than the mass media.”Kazes debut single,Nan Nan,came out in 2019.His first album,Help Ever Hurt Never followed in May 2020 and reached No.2 in the Japanese charts.Due to the COVID-19 pandemic,promotion for the al

311、bum was limited largely to a drip feed of videos and live-streaming concerts.This potential disadvantage,however,turned out to be an advantage,as this was Kazes home turf.The move allowed Kaze and his team to begin building an organic audience outside Japan.In 2021 he released a single called Kirari

312、,which involved a commercial tie-in with Honda,facilitated by Universal.It became Kazes first Top 5 hit in Japan.Last year saw the release of his sophomore album,Love All Serve All,which went one-better than its predecessor by topping the Japanese charts.The real global gear-change came in July 2022

313、 with the surge of Shinunoga E-Wa on Tik Tok(or social media).The song,which translates to Id Rather Die,became the soundtrack to nearly half a million videos created on TikTok.The track started to blow up across Southeast Asia and eventually reached No.4 in Spotifys Viral 50 Chart in September 2022

314、.Higashi says:“It was a big buzz.And as soon as it started,Universal caught it partly because of data reports and partly because they had offices and expertise ready in the territories where it was taking off.The track went on to reach the Top 10 in the Global Viral Chart in 70 markets,demonstrating

315、 Kazes truly global appeal.“Each country provided support and amplified what Kazes fantastic song had started on TikTok.We were then able to take that momentum and run with it around the world.Kaze and his team really appreciated that global reach and the teams on the ground around the world who wer

316、e working to support Kazes vision.They really value that aspect of our partnership.“Its interesting,because Kaze sometimes sings in the dialect of his hometown of Okayama in Western Japan,hes actually from what we would call the countryside of Japan;but his music speaks globally.I think this is what

317、 makes him such a uniquely exciting artist.”At the time of writing,Kaze has more than 11 million monthly listeners on Spotify,the highest number for a Japanese artist,and hes showing no signs of slowing down.It was only when we truly understood what he wanted to do and where he wanted to go that we

318、could really help him achieve that.”MITSUHIRO HIGASHIKOSONODeputy Managing Director,Universal Sigma,Universal Music JapanFujii Kaze photo courtesy of Universal Music Group4948IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYIFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYSECURING A FRAMEWORK FO

319、R LONG-TERM,SUSTAINABLE GROWTH ACROSS THE MUSIC ECOSYSTEMThe landscape for music continues to evolve at a breakneck speed,bringing new ways to deliver,experience and engage with music content and with more on the horizon.Artificial Intelligence(AI)and increasingly immersive technologies are already

320、affecting us all profoundly,and music is no exception.While human artistry will always be at the heart of great music,new AI tools offer music great benefits.Some,for example,support artist discovery,others enhance audience identification.Still others enable fans to engage with artists in new ways a

321、nd some aid in the creative process.Thats why robust copyright rules and regulations remain a critical tool to protect and foster creativity and the key enabler of effective licensing.The pace of innovation may also mean that other forms of protection and intellectual property from personality right

322、s to unfair competition rules need to be strengthened,in order to protect artists and the integrity of the marketplace.The fundamental policy principles that underpin IFPIs work to secure a framework that supports a heathy,sustainable,global music industry for the future include:1.The artist must re

323、main at the centre of all that we do.Record companies constantly explore new technologies and innovations,working with artists to develop and use new tools to advance the creative process.This includes the use of artificial intelligence which offers new innovative tools to support artists,from syste

324、ms that assist in the creative process to those that help with production.However,AI is not and will never be a substitute for human artistry,nor should developers of AI models be allowed to use artists recordings without authorisations,whether to train their models or to generate new content.Furthe

325、rmore,developers of AI models should be required to keep records of the content of others that they ingest and disclose the recordings used in the development of the models.CONTINUE TO VALUE HUMAN ARTISTRYKYE photo by Jae BunnyPeach PRC photo by Jess Gleeson2.Music has both cultural and economic val

326、ue,and public policies should ensure that that value is fully recognised by all players in the marketplace.It means,among other things,that online operators including those operating virtual metaverse platforms or content sharing networks running on Web3 technology must negotiate licences for the mu

327、sic they make available on their services.Policymakers increasingly understand the value of exclusive rights and robust and clear copyright liability rules,offline as well as online.Exclusive rights and clear liability rules are necessary for rightholders to benefit fairly from their rights.RECOGNIS

328、E MUSICS VALUE 5150IFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRYIFPI GLOBAL MUSIC REPORT 2023 STATE OF THE INDUSTRY3.The music market today is highly competitive,and artists have more choice than ever before in how they create,record,and share their music with fans worldwide.Those who choose t

329、o partner with a record label do so to benefit from a labels resources,experience and expertise,while also drawing on their creative input,global networks,and marketing power.Through these partnerships,artists develop new creative opportunities that can lead to further success.The increasingly compe

330、titive environment has directly benefited artists,with an IFPI study showing that record companies payments to their artists have increased by 96%between 2016 and 2021.Since artists incomes come from multiple sources,policymakers should support a competitive marketplace where artists and their comme

331、rcial partners are free to develop new partnerships,to the benefit of all parties and without unnecessary regulatory interference.SUPPORT MUSICS COMPETITIVE MARKETPLACETo make copyright systems truly functional and to protect rightholders repertoire at all times and in every environment,effective en

332、forcement measures and procedures are required.Governments should actively address the most extreme infringements through criminal and administrative actions.That requires the empowerment of competent authorities to order online intermediaries to block access to infringing and otherwise fraudulent s

333、ervices,following the example of a growing number of countries from India to Latin America and the EU.PROTECT CREATORS CONTENT4.Governments should also require that where online hosting providers benefit from liability privileges(also known as safe harbours)they take credible and effective measures to keep infringing music off their services,not least once they have been notified of such infringin