IFPI confirms recorded music market grew 8.2% in 2019
The International Federation Of The Phonographic Industry yesterday confirmed that 2019 was another year of growth for the global record industry thanks to the ongoing streaming boom. We already knew that, of course, but now we have stats. Global stats! And who doesn't love global stats? No one. I checked. Everyone loves global stats. Everyone!

I mean, look at this: a 22.9% increase in streaming revenues last year resulted in an 8.2% increase in total recorded music revenues which translates into $20.2 billion of cold hard cash for the wider record industry. There you go, some global stats. Love it!

As expected, streaming now accounts for more than half of total recorded music revenues. IFPI's 'Global Music Report' confirms that 56.1% of the monies that came into the record industry worldwide last year were from the big bad streaming services. Paid-for streaming brings in three times more than free streaming, with the premium services generating 42% of total monies and the free ad-funded platforms just over 14%.

As for the record industry's other revenue streams, physical still accounted for 21.6% of income worldwide last year, though a handful of key markets still skew that figure a little.

Downloads were down loads again, which is good news, because that gag never gets old. Download stores now account for 7.2% of money. Sync is bringing in about 2.4% of the cash. And the money from broadcast and public performance that comes in via the collective licensing system is 12.6% of revenue.

Interestingly - and somewhat surprisingly - that latter revenue stream, ie public performance, which has been quietly and steadily growing for some time now, was down 3.6% last year. Though, IFPI says, that's mainly because of "one-off settlements in 2018 which inflated the prior year's revenues". Take those out and this less talked about but increasingly important revenue stream continues to grow. Or at least, it was continuing to grow.

Public performance is one area where the COVID-19 shutdown could negatively impact on the record industry, given many bars and restaurants who pay royalties into the record industry's collecting societies are currently closed. And pessimists reckon a significant portion may never reopen. Plus the radio sector - also included in this category - has seen its ad revenues slump, and it's those revenues that the record industry usually shares in.

The IFPI itself actually kickstarts its whole 'Global Music Report' - launched this year without the usual fanfare - by noting how much the world has changed since the time period the stats in this report relate too, aka 2019.

Bragging about the record industry's return to the good times seems inappropriate in the context of the COVID-19 pandemic. All the more so given the crisis that pandemic has caused in the wider music community has reignited the debate over whether labels keep far too much of the money handed over by the streaming services each month, and the accompanying argument that more should be allocated to artists and songwriters.

And while the record industry is more immune to the impact of COVID-19 than most of other strands of the wider music business - chiefly because of the way the premium streaming business model works - that doesn't mean it's not being hit at all. Physical sales and any revenue streams linked to advertising will be negatively affected, in addition to public performance money.

In her introduction to the report, IFPI boss Frances Moore notes: "By its very nature, IFPI's annual 'Global Music Report' is retrospective. Featuring our uniquely global charts, financial results and reports on the people behind the music, it reviews the state of the recorded music sector for the prior year. As such, it was originally drafted prior to the global COVID-19 pandemic".

"The document you are reading shows the results of the successful work and investment of record companies and their artists", she goes on. "Today, as we issue the report, the world faces a pandemic that presents challenges unimaginable just months ago. In the face of this global tragedy, the music community has united behind efforts to support those affected by COVID-19. This is a critical and ongoing priority as our member record companies work to continue to support the careers of artists, musicians and employees around the world".

She concludes: "It has been heartening to see how music has helped once again to unite, inspire and heal. We see that music's timeless power, like the resilient strength of humanity itself, is a light even through difficult times".

But I lured you into this article with the promise of stats, not sombre reflections on the COVID-19 crisis. So here, have some more stats.

Regions wise, Latin America is still seeing the fastest rate of growth, with revenues up 18.9% last year, in part helped by a massive 40.9% growth in Argentina, one of the region's big three markets. The combined markets of the US and Canada were up 10.4%, while Europe saw increases of 7.1%. Which might seem rubbish compared to Latin America, but given the European record industry saw all most no growth in 2018, that's pretty good going.

As for the ten biggest recorded music markets overall, they remained unchanged in 2019, although the order in which they appear in the top ten list did alter a little. So the biggest ten markets - from biggest biggest to smallest biggest - go: US, Japan, UK, Germany, France, South Korea, China, Canada, Australia and Brazil. Lovely stuff.

And that, I think, is enough stats for now. In normal times the official summary of the IFPI's latest 'Global Music Report' would be the usual "woo, everything's great, well done labels, but don't forget about safe harbour and stream-ripping, boo to them".

But because of the COVID-19 pandemic, the main takeaway from the IFPI's latest stats pack is the same as the takeaway from every other set of stats you've seen in recent weeks. "Fuck knows". Have a good day everybody!

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Criminal trial over 2010 Love Parade stampede abandoned without conclusion
A German court has ended without conclusion a long-running manslaughter trial in relation to the stampede at the 2010 Love Parade event in which 21 people died.

The dance music festival, which was originally Berlin-based, but began travelling to different German cities each year in 2007, was taking place in Duisburg in 2010. The free event was always popular and - even though turnouts had fallen in preceding years - it was estimated by investigators that almost half a million people attended in 2010. The site's capacity, however, was just 250,000.

Despite the large number of people attending, crowds entering were funnelled through a single underpass, which quickly became crowded. On the Saturday morning of the event there was a surge in the crowd, which caused panic in the tunnel, followed by a stampede that left 21 people dead and hundreds more injured.

In 2014, ten people - including the event's organisers and city officials - were charged with negligent manslaughter and bodily harm in relation to the tragedy. It was alleged that failures in the planning process and event security had led to the crowd surge.

At the time Duisburg prosecutor Horst Bien told reporters: "Something happened on 24 Jul 2010 that should never have happened. We weren't looking to see who was morally or politically responsible but instead focussed only on who was criminally liable".

The trial in relation to those charges got underway in 2017. But last year prosecutors dropped their case against seven of the accused, with the three remaining defendants all working for the festival's promoter.

According to German news agency DPA, judges overseeing the case proposed ending the criminal proceedings without conclusion last month. They said that the COVID-19 pandemic was making it hard for those proceedings to continue at the moment, while a statute of limitations under law meant any conviction would need to be secured by July.

Both the prosecution and the defendants ultimately agreed to that proposal. Unsurprisingly, relatives of the victims did not, however their approval is not required under German law for the decision to formally close the criminal proceedings to be made.

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Sony/ATV Nashville signs Gabby Barrett
Sony/ATV's Nashville division has signed country musician Gabby Barrett to a global publishing administration deal. A finalist on the 2018 series of 'American Idol', she went platinum with her debut single, 'I Hope', last year.

"Becoming a Sony/ATV songwriter is a highlight moment for me", says Barrett. "I'm really excited to be able to continue to grow as a writer. This is definitely a special team, and I'm grateful for their belief in me and my music".

Sony/ATV Nashville CEO Rusty Gaston adds: "When Gabby sings you can hear her true heart in every single note, and she brings that same passion into the writing room. We are THRILLED to welcome her to the Sony/ATV family and support her as she enters this exciting new phase in her career".

Last week, Barrett released her latest single 'Got Me', featuring Shane & Shane. Her debut album, 'Goldmine', is due out on 19 Jun.

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SoundCloud launches Twitch channel
In these strange times, unexpected things just keep on happening. So it probably shouldn't surprise you to learn that SoundCloud has signed itself up for an account on another streaming platform.

It is, at least, a video streaming platform - Twitch - where it plans to host live programmes featuring music industry advice, live performances from emerging artists, and reviews of the latest audio finds back on SoundCloud.

Amazon-owned Twitch is, of course, best known as a platform for gamers to livestream on, but over time has become a platform used for the livestreaming of music, comedy and more - all the more so since the COVID-19 shutdown began.

Shows on SoundCloud's channel include Cloud Bar on Thursdays, which will delve into issues affecting musicians; Fresh Pressed on Mondays, which tells the stories behind the tracks on the SoundCloud playlist of the same name; and Fast Track, in which a producer will be given 60 minutes to create a new track, with the finished recording then made available as a free download on SoundCloud afterwards.

Find out more at twitch.tv/soundcloud

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Bauer takes complete ownership of radio advertising company First Radio Sales
Bauer Media has announced that it has taken complete ownership of radio advertising agency First Radio Sales. The media firm got a 50% stake in the ad sales business via its acquisition last year of local radio group UKRD. It has now bought the other 50% from the Wireless Group, the radio division of newspaper business News UK.

It was Bauer getting 50% of First Radio Sales that caused problems when the media company sought competition regulator approval for a flurry of local radio acquisitions it instigated in early 2019, including the UKRD deal.

FRS sells national advertising for various independently owned commercial radio stations. The UK Competition & Markets Authority said that, if Bauer sought to close down FRS, or more likely merge it with its existing ad sales business, that would reduce the options for smaller radio stations still seeking sales representation. That therefore could result in those smaller radio stations having to pay higher commission rates.

To overcome those concerns, Bauer told the regulator that it would commit to continue providing ad sales representation to those third party radio stations which have previously utilised FRS on the same terms as they have enjoyed to date, for at least the next ten years.

Confirming Bauer had now taken complete ownership of FRS, the firm's MD of radio Dee Ford said: "In the current landscape, it is more important than ever that businesses and brands are able to communicate with their customers in an agile and effective way. We can now offer an enhanced advertising offering including the stations we recently acquired, as well as an enhanced deal to the third-party customers currently represented by FRS".

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SK Shlomo announces weekly beatboxing lessons for kids on lockdown
Beatboxer SK Shlomo has announced a new online version of his popular 'Beatbox Adventure For Kids' show. Once a week, 'Homeskool Beatbox Adventures' will teach children and their families on lockdown how to make music with their mouths, as well as raising money for the NHS.

"It's a show about believing in yourself", he says. "Finding confidence in your own voice is extremely empowering. That's even more important when so many of us are feeling disconnected - we don't know how we can help the world. This project can bring people together, connect the world up and raise funds for the heroes on the frontline who we appreciate so much".

The show will run at 2pm UK time every Thursday for six weeks, starting this week. Each episode will see him joined by a guest, with Bastille, KT Tunstall, Bill Bailey, Basement Jaxx, Jason Mraz and BBC Radio 1's Dr Radha all signed up to take part.

Over the six weeks, children taking part will be involved in writing a new song, with 50 families each week joining Shlomo live on Zoom. Everyone else can tune in to livestreams on Facebook and YouTube. The beatboxer is also aiming to raise £2500 for NHS Charities Together with the show.

Watch SK Shlomo himself introduce the concept here.

Find out more at beatboxadventures.com

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COVID-19 SUPPORT INTIATIVES

Mark Ronson has released a new video mixtape, called 'Love Lockdown', on his YouTube channel. It features live lockdown performances from Miley Cyrus, Christine And The Queens, Robyn, Dua Lipa, Disclosure and more, and aims to raise money for the World Health Organisation.

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RELEASES

Sia has released new single 'Saved My Life', co-written by Dua Lipa and Greg Kurstin. All proceeds from the track will be donated to Americares and CORE Response.

Tinie (no longer Tempah) has released new single 'Moncler', featuring Tion Wayne. "This song is a celebration of where I'm at in my life now", he says. "We rarely get to stop and smell the flowers because we are in constant pursuit of whatever it is we are chasing".

Bright Light Bright Light has released new single 'Sensation', featuring Jake Shears. His new album, 'Fun City', is out on 18 Sep.

Kvellertak have released a video of 'Bråtebrann' from a livestreamed performance last month. You can pay to access the full show here.

Lyam has shared new track 'Awai'. His debut album, 'N_o caller ID', is out on 5 Jun.

Check out our weekly Spotify playlist of new music featured in the CMU Daily - updated every Friday.

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The Weeknd discusses American Dad episode, and new song I'm A Virgin
The Weeknd's episode of animated series 'American Dad' - which he co-wrote and appears in - aired in the US last night. The episode also saw him premiere a new song, 'I'm A Virgin', co-written with Asa Taccone specifically for the telly programme.

Describing himself as a "longtime fan of the show", the musician tells Variety: "I always wanted to play a character that was the opposite of the public's perception of me - and of course make fun of myself. Once I was given the opportunity I took complete advantage. [Episode co-writer] Joel Hurwitz believed in the vision and he helped execute it beautifully".

He adds that he's now keen to "continue to create different Weeknds in alternate universes", with another animated show in his sights.

"'American Dad" was everything I wanted", he says. "It's going to be hard to beat this in the TV cartoon world, but an obvious bucket list would be to work on 'The Simpsons'. That would be a dream ... I actually have a pretty cool idea if they're down".

Elsewhere in animated Weeknd news, he also revealed in the Variety interview that he's provided "multiple voices" for an upcoming episode of 'Robot Chicken'.

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