Le groupe Puggy, Alice On The Roof et Saule joueront chacun trois titres en live à partir de 20h50. Ils mettront aussi en avant un artiste de la Fédération Wallonie-Bruxelles pour lequel ils ont eu un véritable coup de cœur. Leur choix s’est porté sur Nicolas Michaux, Pierre Lizée et Témé Tan. Kid Noize clôturera la soirée avec un set de musique électronique.
Les concerts seront transmis en direct sur la Une à partir de 20h50.
Revenue from subscription music services more than doubled in the US in the first half of 2016 – driving overall market growth of 8.1%.
According to new figures from the RIAA, paid-for on-demand platforms like Apple Music and Spotify Premium generated revenues of $1.013bn in the six month period – growth of 112%, and enough to offset declines from downloads, CDs and vinyl sales. (Yes, we’re afraid so: vinyl revenues fell.)
The jump in subscription revenue is promising but predictable: last year’s figures barely included cash from Apple Music, which launched on June 30, 2015.
Largely thanks to that launch (as well as Jay Z’s Tidal), the value of the average paid-for US monthly music subscription has gone up: from $8.77 in the first half of 2015 to $9.23 in the equivalent period of this year.
At the same time, the number of people paying for a subscription music service in H1 2016 grew 101% to 18.3m, up from 9.1m the year before.
Total six-month US recorded music industry revenues jumped up by more than $250m to $3.43bn on a retail basis in H1 2016.
"I needed new tools to modernise my label," he explained. "I met with these software developers and we started to develop tools around copyright assets. Now, it takes me three clicks to do my accounts, whether I have 10 or 10,000 artists. The solution, at the start, was my solution; but I understood rapidly that I was creating a solution for all rights owners."
Guez said the changes were rendered necessary just by the sheer “explosion of data that is crushing companies.” For him, the lack of ability to process data is the main problem for most companies and rights societies. “The explosion of data is challenging for any right owner,” he explained.
Revelator, he added, is set up to finds solutions of workflow to manage complex data situations. “I did not want to manage the old way,” he explains. Very quickly, Revelator developed a rights management platform that was beta-tested with 1,000 Israeli artists. “Managing data is a good business,” he said. "So I approached distributors like CD Baby to provide them with services.”
Plusieurs organisateurs de festivals de musique se montrent préoccupés par l'augmentation des tarifs que leur réclamera la SABAM (Société belge des auteurs, compositeurs et éditeurs) l'année prochaine, rapporte L'Echo samedi. Celle-ci atteindra 16 à 37% selon la taille de l'événement. Selon les promoteurs de festivals, la hausse des tarifs s'accompagnera aussi d'un élargissement de la base de calcul, en incluant notamment les cachets des artistes, ainsi que les frais d'éclairage et de sonorisation
La Cour de justice de l'Union européenne (CJUE) interdit à Amazon de prétendre dans ses contrats avec les consommateurs européens que seul le droit luxembourgeois leur serait applicable.
Actuellement, l’article 8 des conditions générales de vente d’Amazon stipule que « les présentes Conditions d’utilisation sont soumises au droit luxembourgeois ». Même si les consommateurs européens restent libres de saisir la juridiction de leur pays, elle serait censée appliquer le droit du Luxembourg, qui n’est pas toujours aussi favorable aux consommateurs que le droit d’autres pays membres. Mais cette stipulation contractuelle devra bientôt disparaître.
Le Luxemburger Wort rapporte en effet que ce jeudi, la Cour de justice de l’Union européenne (CJUE) a donné raison à une association de consommateurs autrichienne, qui contestait l’application du droit luxembourgeois dans l’analyse de clauses jugées abusives dans les contrats d’Amazon.
In terms of a media time breakdown, TV is still the dominate form of entertainment, with the average adult watching for 35 hours, 26 minutes a week. Radio is a distant second at a weekly average of 13 hours, 1 minute, followed by smartphones at 11 hours, 36 minutes. The proportion of time for the 18-34 age bracket, which spent only 20 hours, 24 minutes per week with TV and 10 hours, 54 minutes with radio, compared with 14 hours, 23 minutes on smartphones.
On a sunny Thursday morning in Barcelona last month, dozens of professionals gathered under a wooden awning at the Sónar+D conference to hear prophecies from opposite ends of the music curation spectrum: algorithmic playlisting and old-school terrestrial radio. It was a jarring but much-needed juxtaposition, suggesting that curation as we know it is both more fruitful than ever and in danger of dying out.
A la demande de la SABAM et en collaboration avec le dr. Micheline Lesaffre de l’Instituut voor Psychoacoustica en Elektronische Muziek (IPEM) de l’Université de Gand, le bureau d’études de marché Profacts a réalisé une enquête dans le cadre de laquelle un échantillon de 1015 consommateurs de musique/ membres adultes de la population belge ont été interrogés en ligne pour savoir comment ils perçoivent la musique et établir ce que celle-ci représente en termes de bien culturel et économique.
La SABAM a en outre décidé de faire réaliser une deuxième étude par Profacts, afin de déceler ce qui motive les entrepreneurs à diffuser de la musique dans leur entreprise. 300 professionnels ont été interrogés au moyen d’entretiens téléphoniques structurés. Dans ces études, nous nous posons la question de savoir si la valeur de la musique dans notre société actuelle est mise sous pression et quels sont les facteurs qui déterminent cette valeur.
Until AMRA took over last year, Kobalt’s collection responsibility in Europe fell to its partnership with Swedish CMO STIM – a venture which, after it was struck in 2013, resulted in its own significant uplift in collections.
Tomas Ericsson, CEO of AMRA said, “This uplift is exceptional both because it’s in Europe, one of the most mature markets in the world, and because it’s in addition to the already significant uplift from Kobalt’s previous partnership with STIM.
“To deliver a combined 28% uplift from Spotify and YouTube on top of what Kobalt has already achieved with STIM, is truly an amazing result. As well as a strong indicator of the tremendous uplift to come from the other major DSP’s and other markets around the world.”
The Nuits Sonores festival, which takes place annually in the city of Lyon was created in 2003. The European Lab is only five years old but is quickly gathering pace. Running in parallel with the festival, this cultural forum is designed to promote discussion about cultural challenges in Europe.
Wolfgang Spindler, euronews: “The European ‘spirit’ is going through a crisis, globalisation is diminishing cultural diversity, the internet seems to dictate our lives and many are finding it hard to remain optimistic about the future. In the words of French writer Raphaël Glucksmann, this generation is suffering from a hangover.”
Le géant de l'e-commerce chinois a profité de la très populaire émission de télévision « I'm A Singer » pour présenter son intelligence artificielle, Ai. L'IA a réussi à prévoir 100% des finalistes et même le vainqueur de l'émission.
We had hoped for more ambitious legislative steps towards a new connected Digital Single Market. For example access to last years usage data does help audit last years royalties, but limiting the potential of data to checks on remuneration misses the opportunity of closing the data gap. Data is a real time strategic tool which would help artists in weaker positions, and unlike money, data can simultaneously benefit multiple stakeholders. Digital has transformed distribution, that’s a good start, but digital empowerment could do much more for artists.
Online retail behemoth Amazon is preparing to launch their own streaming music service, lining the company up to compete with players such as Apple, Spotify and Pandora.
According to Reuters, Amazon's service will offer a competitive catalog and price of $9.99 a month. Reuters said Amazon finalizing its licensing agreements with the labels and is looking to launch the service in the late summer or early fall.
The Live Music Office has built an online map to help bring the live music sector closer together. Essentially a tool for artists and the broader live music industry, the map highlights everything needed to tour the country. From venues to gear hire, community radio and booking agents, the Live Music Map plots businesses all over Australia including: Live music venues Radio stations Recording and rehearsal studios Music education centres Production and backline companies Agents and promoters Music organisations
Developed in association with the South Australian Government through the Music Development Office (MDO) and the Australian Music Radio Airplay Project (Amrap), the Live Music Map is hosted on the Live Music Office website.
This redacted paper, summarises the extent and range of felt discriminations across the UK music industry and raises awareness of unfair practices in the expectation that the industry significantly improve its record on diversity
‘Leaked’ Spotify numbers emerged today indicating that the streaming service has just hit 37 million subscribers, which puts more clear water between it and and second placed Apple Music, despite the latter’s recent growth. It also means that Spotify is now nearly 10 times bigger than Tidal and probably Deezer (which hasn’t reported numbers since its France Telecom bundle partnership ended). It is beginning to look suspiciously like a 2 horse race. But there is a more important story here: Spotify’s accelerated growth in Q2 2016 was driven by widespread use of its $0.99 for 3 months promotional offer. Which itself comes on the back of similar offers having supercharged Spotify’s subscriber growth for the last 18 months or so. In short, 9.99 needs to stop being 9.99 in order to appeal to consumers. Which is another way of saying that 9.99 just isn’t a mainstream price point.
To the contrary of the UK and the US, Snep and GfK, the institute compiling the charts, have decided to multiply the sales figures (by 150) and add them to streaming data rather than dividing streaming by 150 and adding it to sales”.
This ultimately yields the same final rankings, but Snep is quoted in saying that “it seemed more logical to us to convert the data of the smaller trend to that of the bigger, and not the opposite”.
France has thus just introduced the sales-equivalent-streaming ratio!
“Today, I’m happy to announce that on mobile alone YouTube now reaches more 18–49-year-olds than any network — broadcast or cable. In fact, we reach more 18–49-year-olds during primetime than the top 10 TV shows combined.”
Sharing your scoops to your social media accounts is a must to distribute your curated content. Not only will it drive traffic and leads through your content, but it will help show your expertise with your followers.
How to integrate my topics' content to my website?
Integrating your curated content to your website or blog will allow you to increase your website visitors’ engagement, boost SEO and acquire new visitors. By redirecting your social media traffic to your website, Scoop.it will also help you generate more qualified traffic and leads from your curation work.
Distributing your curated content through a newsletter is a great way to nurture and engage your email subscribers will developing your traffic and visibility.
Creating engaging newsletters with your curated content is really easy.