Recorded Music

Transcription

Recorded Music

www.ifpi.org
Recording
Industry
In Numbers
2009
The Definitive Source
Of Global Music
Market Information
FOR 75 YEARS,
PPL HAS BEEN
GROWING INTO A
MODERN SERVICE
ORGANISATION
FOR THE MUSIC
INDUSTRY, READY
AND WILLING
TO TACKLE THE
CHALLENGES OF THE
DIGITAL WORLD.
It all started in a café in Bristol, England in 1934, when dance musicians were
replaced by vinyl records played on a phonograph. Back then, PPL had just two
members – EMI and Decca. Now we have over 3,400 record companies and,
following a merger with the principal performer societies, 39,500 performers. In
addition, our reach has extended to include international repertoire and overseas
royalties through 42 bilateral agreements with similar organisations around the world.
PPL licenses businesses playing music, from broadcasters to nightclubs, from
streaming services to sports studios, from internet radio to community radio.
Licensees are able to obtain a single licence for the entire PPL repertoire, a service
which is seen as increasingly valuable for both rightholders and users alike as
consumption of music continues to grow. Broadcasters such as the BBC have
commented that they simply would not be able to use music at such a scale, across
nine TV channels, sixty radio stations, the iPlayer and numerous online services
without a licence from PPL. The PPL licence is equally valuable to other users,
such as commercial radio stations, BT Vision, Virgin Media, Last.fm and even the
fourteen oil rigs that want to keep their oil workers entertained on their tours of duty.
For the performers and record companies who entrust their rights to PPL, the
income from these new distribution outlets is becoming increasingly valuable.
Total income (including music videos which are licensed through VPL) now tops
£140m and continues to increase. All the income generated, less the actual
costs of licensing and distribution, is distributed direct to the record companies
and performers whose recordings have been played. PPL takes no profit for itself.
For most record companies and performers – featured artists, session musicians,
orchestral players, backing vocalists and others – this revenue is an important
income source. This significant additional income stream also helps the record
industry to continue the essential investment in new recordings.
Each week PPL receives electronic details of approximately 6,500 new recordings.
This information is now essential to almost every area of the music business.
As well as underpinning PPL’s licensing and distribution operations, this data is
also passed on to PRS for Music for mechanical licensing, to the Official Charts
Company and to BPI and IFPI for anti-piracy purposes.
PPL HAS COME A LONG WAY IN 75 YEARS. NOW THE
CHALLENGES ARE GLOBAL, DIGITAL AND DELIVERING AN
EVER BETTER SERVICE TO THE RECORD COMPANIES AND
PERFORMERS. PPL LOOKS FORWARD TO A BRIGHT FUTURE.
To find out more:+44 (0) 20 7534 1000 www.ppluk.com
STANDING UP
FOR MUSIC RIGHTS.
01
IFPI Recording Industry In Numbers 2009
Contents
3 : Introduction
4 : Sources & Notes
5 : Recorded Music Sales In 2008
11 : New Business Models
14 : Unauthorised Downloading
16 : Top Sellers 2008
23 : Broader Music Industry
North America
Asia
27 : Canada
28 : USA
58 : China
60 : Hong Kong
61 : India
62 : Indonesia
63 : Japan
65 : Malaysia
66 : Philippines
67 : Singapore
68 : South Korea
69 : Taiwan
70 : Thailand
Europe
30 : Austria
31 : Belgium
32 : Bulgaria
33 : Croatia
34 : Czech Republic
36 : Denmark
38 : Finland
39 : France
41 : Germany
42 : Greece
43 : Hungary
44 : Italy
45 : Netherlands
46 : Norway
47 : Poland
48 : Portugal
49 : Russia
50 : Slovakia
51 : Spain
53 : Sweden
54 : Switzerland
55 : Turkey
56 : UK
Australasia
71 : Australia
72 : New Zealand
Latin America
73 : Argentina
74 : Brazil
75 : Chile
76 : Colombia
77 : Ecuador
78 : Mexico
80 : Peru
81 : Uruguay
82 : Venezuela
frica
A
83 : South Africa
Appendix
85 : World Rankings 2008
86 : Recorded Music Volume Trend
87 : Recorded Music Retail Sales 2008
88 : Digital Share By Market 2004 – 2008
89 : Physical Market Repertoire Origin 2008
90 : Certification Award Levels
92 : Local Music Industry Association Contacts
94 : Taxes On Sound Recordings & Exchange Rates
01
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03
Introduction
Recognising The Value Of Music
Economic headlines in 2008 were almost
unremittingly gloomy, with countries
worldwide slipping into recession
and chaos hitting the financial
markets. The music industry
was not immune from this
turbulence but, as the figures
in this 16th edition of the
Recording Industry in Numbers
show, the picture was not
bleak across the board.
The global decline in recorded
music sales of eight per cent
was driven largely by the
United States, the largest
market in the world for our
industry. The US was responsible
for 56 per cent of the decline in
revenues generated by physical sales
worldwide. Excluding the US, global
recorded music sales (including digital
sales and performance rights) would have
fallen by a more modest 3.9 per cent.
In Asia there was a different and more
positive picture. Japan, the second largest
market for recorded music worldwide,
saw overall sales growth of one per cent.
There was also growth in China, India,
Thailand and South Korea. These markets
have been transformed and driven by
digital sales.
Europe offers a mixed picture. In some
markets, such as the UK, revenues from
digital services rose sharply and mitigated,
to some extent, falling CD sales. In other
markets, such as Italy, digital platforms
continue to underperform.
For the music business, the challenge
remains creating a thriving online business
that gives consumers access to the music
they want in a way which also rewards and
respects creators, artists and producers.
In France an enlightened approach to
controlling internet piracy led to the
government proposing the Creation and
Internet law which would oblige ISPs to
take steps to deter their subscribers from
repeated unlawful file-sharing. At the time
of publication, the proposed law is being
debated in the French National Assembly.
The music and film businesses are looking
for other governments to follow this
approach. Several, from the UK to Taiwan,
obtain music as part of a bundled package
with their ISP subscription or mobile phone
purchase. All these different channels
have one thing in common – they pay
the creators of the music their
customers are enjoying.
John Kennedy, IFPI Chairman & CEO
are moving in an encouraging direction.
In the meantime, music companies are
continuing to experiment and innovate
with models that get music to consumers
in any way they want it and which pay
creators the rewards they deserve.
Anyone who earns a living from creativity
will have been heartened in April to see
the conviction of the operators of The
Pirate Bay. The trial of those individuals
has been much misrepresented in the
blogosphere. In fact, the outcome was
great news for creators who need to know
that their rights can still be protected
by law from deliberate and systematic
violators like The Pirate Bay.
A Brand New Sector
Today’s digital music market is dominated
by services that in some cases did
not even exist six years ago: iTunes,
AmazonMP3.com, Nokia’s Comes With
Music, Sony Ericsson’s PlayNow Plus,
Spotify, YouTube, TDC PLAY, We7, Dada,
Play.com and MySpace Music.
Music companies have embraced
technological change and are working
with a huge variety of partners to bring
great music to the public. New services
are offering users a huge variety of ways
to legally access music. Fans can now
buy a-la-carte downloads, listen to free
streamed music, watch music videos or
Investing In Artists
Despite rapid changes in the
sector, music companies
remain the largest investors
in artists. They invest around
20 per cent of their revenues
in discovering, nurturing
and developing talent. The
skills and financial backing
they provide enable artists to
concentrate full-time on their
music career. Record labels can
also open the door for artists to
work with the best songwriters and
studio producers in the business.
Record labels of all sizes succeed because
they aggregate artists together. For every
successful act that forges a career in
music, several more fail to connect with
the public and cannot recoup the advances
they have been paid through sales. That
is the investment risk that record labels
face. The role of the record label is evolving
in the 21st century, but they are needed
more than ever to discover great acts and
develop their talent.
Protecting The Value Of Music
The trade value of the recorded music
market has been shrinking remorselessly
for the last nine years. Increasing digital
sales have not offset falling physical sales.
This development has coincided with
the explosion in availability of copyrightinfringing music on file-sharing networks.
Governments now emphatically agree there
is a problem to solve: it is grave and mere
debate and talk are simply not going solve
it. The debate over the future of music
in the digital age is fundamentally about
recognising the value of creativity. Creating
new music costs money. People who work
to create an album and bring it to the public
need to earn a livelihood like anyone else.
Operators of music services need to see a
return on their investment, not face unfair
competition from online piracy. Music has a
real value and that should be respected and
recognised by all parties.
03
04
Sources
& Notes
Sources
›P
opulation, median age: The World
Factbook (www.cia.gov)
› Exchange rates: Oanda (www.oanda.com)
›B
roadband lines: Point Topic
(www.point-topic.com)
› Internet users: Internet World Stats
(www.internetworldstats.com)
›M
obile subscriptions: Mobile
operator figures
›T
op independent labels: IFPI national
groups (unless otherwise stated)
›P
ortable player users: Screen Digest,
Futuresource Consulting Ltd.
Notes
›T
rade value: or wholesale value refers
to record companies’ revenue, net of
discounts, returns and taxes. Promotional
goods and non-music related sales or
non-recording artist related products
are excluded. All analysis, growth and
trends, are based on trade values unless
otherwise stated.
›R
etail value: estimate of the final value
paid by the consumer for the purchase of
music products, inclusive of relevant sales
taxes and retailer mark-up. Retail values
are estimates only and refer to physical
and digital sales only (performance rights
not included).
›$
US (fixed): historical local currency values
re-stated at the 2008 exchange rate.
›P
hysical sales: CD sales ordered via the
internet (e.g. Amazon) are reported as
physical sales. Figures are provided by
the record companies in the respective
markets to the local IFPI body. IFPI
applies a ‘coverage factor’ to the figures
to account for non-reporting companies,
therefore representing 100% of the market.
›D
igital sales: refers to sales via online and
mobile channels and via subscriptions.
Income from ad-supported services,
mono/polyphonic ringtone income and
04
bundled subscriptions were included
in the digital sales figures in 2008.
IFPI has revised 2007 digital sales
for the major markets to include these
new digital categories and in order to
reflect true year-on-year digital growth.
Compiled by Francesca Jacobson and
Laura Childs.
Online sales include single track
and album downloads, music video
downloads, streams, bundles and kiosk
sales. Mobile music sales include master
ringtones, single track downloads to
mobile, ringback tones, music video
downloads to mobile, streams, mono/
polyphonic ringtone income, embedded
music on mobile phones (pre-loaded),
mobile bundles, greetings and dedications
income. Subscription revenues include
online, mobile and bundled subscriptions.
Designed by: band: www.bandlondon.co.uk
› Performance rights revenues: monies
received by record companies from
music licensing companies for licenses
granted to third parties for the use of sound
recordings and music videos in broadcasting
(radio and TV), public performance
(nightclubs, bars, restaurants, hotels)
and certain internet uses.
Performance rights revenues refer to
distributions to record companies –
it excludes non-allocated distributions
and non-recurring distributions such as
settlement amounts. Distributions for
the current year refer to monies collected
by music licensing companies in the
previous year (e.g. distributions for 2008
refer to monies collected in 2007). Figures
are provided by the respective music
licensing companies to IFPI.
› Repertoire origin: proportion of the
physical market value (trade) accounted
for by each repertoire type. IFPI does
not report repertoire splits for the digital
market. Classification is based on artist
country of signing, unless otherwise
stated. Jazz is generally not reported
under classical repertoire.
› Rounding: figures are subject to
rounding, which may affect overall
totals and percentages.
IFPI figures may differ from local industry
groups’ reports due to different methodologies.
Produced and edited by Gabriela Lopes.
For further information visit www.ifpi.org
Photographer credits:
Metallica (p 7) – Soren Starbird 2008
Duffy (p 18) – Julian Broad
Taylor Swift (p 21) – Joseph Anthony Baker
Utada (p 62) – Y. Kikuma
Published by IFPI, May 2009. Copyright © IFPI.
All data, copy and images are subject to
copyright and may not be reproduced,
translated or made available without
permission from IFPI.
05
Recorded Music
Sales In 2008
Global recorded music sales totalled US$ 18.4 billion in 2008 in
trade values, a decline of 8.3% on 2007. While music sales on
physical formats continued to fall, digital sales and performance
rights revenues grew strongly. On a retail basis, the global
recorded music market was worth an estimated US$ 27.8 billion.
Recorded Music Sales By Sector
n Physical n Digital n Performance Rights
2%
100
98%
Global Recorded Music Sales In 2008 (US$ Millions)
3%
95%
Trade Value
2007
Digital sales
Performance rights
Total
2008
10%
13,829
-15.4%
3,050
3,784
24.1%
690
802
16.2%
20,091
18,415
-8.3%
4%
21%
82%
% change
16,350
15%
87%
80
Physical sales
3%
5%
75%
60
40
Source: IFPI
20
Global Recorded Music Sales (US$ Billions, Trade Value)
25
0
23.0
20
22.2
2004
2005
2006
2007
2008
Source: IFPI
21.8
20.1
18.4
15
Recorded music sales in physical formats continued to fall in
2008. Factors explaining this trend include:
10
›T
he continued impact of illegal downloading on CD sales,
particularly affecting younger consumers’ purchasing habits
5
›S
hrinking shelf space for recorded music in physical stores
leading to limited purchase locations for CD buyers
0
2004
2005
2006
2007
2008
Source: IFPI
›D
ifficult economic conditions, with many shop closures taking
place during 2008
› Increasing competition from other entertainment products
On a volume basis, full-length product sales (including vinyl,
cassette, CD, music video and digital albums) totalled 1.6 billion
units globally, a drop of 12% on 2007. Digital albums were the
fastest growing format, up 76%, now accounting for 7% of
full-length product sales. Music sales on vinyl also grew strongly
by 60%, but its share of album sales remained low at 1%.
Albums remain a popular format despite the recent boom in
single track consumption. As much as 79% of all revenues from
music products sold via retail channels are in the album format –
with digital albums accounting for 4% of overall album revenues.
›P
artial shift towards legal online purchasing, particularly among
younger consumers
›W
orsening economic environment, particularly impacting sales
during Christmas 2008
› Increasing ubiquity of music, leading to digital consumption
without purchase
›T
he continued impact of physical piracy in many markets
Singles volumes (including physical singles and online single
track downloads) were up 24% in 2008, totalling 1.5 billion units.
Single track downloads now account for 94% of singles sales.
05
06
Digital Growth 2008
Digital Share % Total Sales 2008
100
n Growth 2007 – 2008
n Share Of Digital 2008
100%
60
60%
50
80
40
60
62%
36%
51%
48%
40
30
42%
22%
20
21%
29%
20%
24%
20
15%
14%
10
12%
11%
6%
0
Online
Mobile
Subscriptions
Ad
Supported
Total
Digital
8%
0
South
Korea
US
Asia
Global
Japan
France
UK
Latin
America
Europe
Germany
Source: IFPI
Source: IFPI
Digital music sales continue to grow strongly – up 24.1% in 2008
totalling US$ 3.8 billion, with single track downloads crossing
the US$ 1 billion mark for the first time. Digital revenues include
downloads, mobile sales, subscriptions and additional categories,
such as revenues from ad-supported models, income from social
networking sites, income from own company websites, bundled
subscriptions and video-on-demand streaming.
Performance rights income – revenues derived from music used
in broadcast and public performance – remain an important
and growing revenue stream, now accounting for 4% of global
music sales. Performance rights revenues to record companies
totalled US$ 802.0 million, up 16.2% on 2007. While Europe
accounts for the majority of revenues in this sector, it was North
America that saw the biggest growth in performance rights in
2008, driven by satellite radio and webcasting in the US.
The music industry commands the second highest digital sales
share among a number of entertainment and media industries.
Only the games industry has a higher digital share (35%). Digital
music sales now account for 21% of total industry revenues,
up from 15% in 2007 and 2% in 2004. The newspaper and film
industries both have a digital share of 4% (PWC).
Digital platforms are also opening up new opportunities, enabling
the music market to grow in countries where the industry’s
presence has been traditionally limited. In parts of Asia and Latin
America, digital sales are driving the music market with China,
India, Japan, Thailand, Central America and Colombia all seeing
digital growth offset the decline in physical sales.
06
10%
2%
Recorded Music Sales By Region
2007 - 2008 % Change (Trade Values)
Physical
Digital
Performance
Rights
Total
US
-31.2%
16.5%
133.3%
-18.6%
Europe
-11.3%
36.1%
11.3%
-6.3%
Asia
-4.9%
26.1%
14.6%
1.0%
Latin America
-10.3%
46.6%
16.7%
-4.7%
Source: IFPI
07
US Sees Strong Digital Growth
But Suffers A Big Drop In CD Sales
Global Decline Excluding US : -3.9%
The global decline in the physical market in 2008 was driven by
a 31% reduction in sales in the US, the biggest music market
in the world. The impact of unauthorised downloading was
complemented by other factors, including for example the
absence of high-selling holiday releases like Josh Groban’s 2007
Noel. The US alone accounted for 56% of lost physical revenues
to the recording industry in 2008. Excluding the US, global
recorded music sales (including digital sales and performance
rights) would have fallen by a more modest 3.9%.
Kid Rock
The steepest decline in CD buying was among younger (13–17)
digitally-connected consumers. Teenagers’ overall music spend has
declined steadily over the past three years. Though P2P incidence
rates in the US have stabilised, the teen and college age groups
with fast internet access remain the heaviest users, and continue
to increase the volume of unauthorised music they download
(NPD Group). While this group accounted for the largest share of
music purchases ten years ago, their share of spending has been
eclipsed by older groups. Although the lack of a credit card may
be a barrier for some teenagers when buying music online, there
are alternatives available. Up to 60% of teens purchase songs at
iTunes using gift cards (NPD Group).
Despite the large decline in CD sales, digital sales continued
to grow strongly in the US, which now accounts for as much
as 47% of global digital revenues. The growth in 2008 online
sales was largely attributable to an expanding music-buying
demographic, with new buyers coming into the market. New
digital buyers are older, possibly an impact of AmazonMP3’s
growth. According to NPD Group, 87% of digital music buyers in
the US used iTunes to download music in 2008. Amazon’s digital
store followed with 16%. Three out of four digital consumers are
repeat buyers.
Young adults are driving the US digital music economy. US
consumers aged 18-35 were the highest spenders in music in
2008, with their increased spend on digital formats compensating
for the decline in CD buying. CD buying still contributed to the
majority of music spending among this age group, indicating
that a significant proportion of downloaders have not abandoned
the CD format altogether. This finding that music buyers are
simultaneously buying in physical and online formats is echoed
elsewhere in the world. Research in the UK found that only 15%
of music consumers who download music legally say they have
stopped buying CDs altogether (Entertainment Media Research).
Distribution Of Music Buyers In The US (2008)
10%
25%
65%
n CD only
n CD and digital
n Digital only
Source: NPD Group, 2008
Metallica
Music Discoverers: Why You Want To Know Them
Research in the US by The Taylor Group (2008) looked into
the habits of music ‘discoverers’ – those who are always
looking for new acts, who like finding out about new
artists and like listening to different music to most people
of their age. It found that this group accounts for 13% of
the US population and 28% of music purchases in the US.
The mean age of a music discoverer is 33 years old and
they are much more likely to purchase music than nondiscoverers. Discoverers are particularly strong purchasers
of digital albums, accounting for 40% of digital album
sales in the US.
Looking at their buying behaviour, the research found
that this group is spending less on music than they used
to. The key factors identified as driving this decline in
spending were the growing number of sources of music
that satisfy consumption removing the need to buy; an
increase in the incidence of file-sharing among this group;
and the economic environment.
07
08
Japanese Market Remains Resilient
Asia Delivers Positive Results
Asian Market : US$ 4.8 billion
% Change : +1.0%
Digital Share : 22%
Asia Excl. Japan : US$ 663.3 million
% Change : +1.9%
Digital Share : 37%
“We tend to release chaku-uta (mastertones) one or two
months before the physical release for test-marketing
and use the market’s response to judge the song’s hit
potential in physical form.”
Takashi Kimoto, Managing Director Of Sales,
Marketing And Digital, Universal Music Japan
Japan, the second biggest music market in the world, saw an
overall market growth of 0.9% with the increase in digital sales
and performance rights offsetting the decline in physical sales.
In 2008 Japan overtook the US as the country with the most
physical music sales.
Digital sales in Japan grew by 25.4% and continued to be
dominated by mobile platforms, which accounted for 88% of
the digital market. Single track downloads to mobile remained
the leading mobile format in Japan.
“It’s about working with our business partners and coming
up with consumer-friendly options. We are starting with the
consumer and working backwards which is proving
a successful approach.”
Lachie Rutherford, President, Warner Music Asia
Japan’s success can be partly attributed to Label Mobile,
a joint venture between twelve record labels that runs all
of its stakeholders’ mobile commerce activities. The synergy
between physical and digital formats, as well as constant
mobile product innovation, have also contributed to Japan’s
positive performance.
Illegal downloading of mastertones and full tracks to mobile
phones continued to threaten the Japanese market, but Japan’s
piracy rate is significantly lower than the global average. Out
of all downloads in Japan (online and via mobile phones, legal
and illegal) in 2008 40% were unauthorised. Globally 95% of
all music downloads are unauthorised. Research shows that
the bias towards mobile consumption is a key factor in Japan’s
lower piracy rate. This reduced impact of piracy also helps
explain Japan’s market resilience.
Thelma Aoyama
Asia was the only region to show overall growth (+1.0%).
Excluding Japan, the region grew by 1.9%. Asia (excl. Japan)
has the highest share of digital sales in the world, now at 37%.
Four Asian markets saw overall market growth: China (+8.0%),
India (+6.3%), South Korea (+16.0%) and Thailand (+7.3%).
Asia also showed the highest growth in performance rights
(+46.8%), although from a small base. Japan’s performance
rights revenues grew more modestly, by 3.5%.
Top Asian Music Markets (Trade Values)
US$ (millions)
Japan
% Change 07-08
% Digital
4,109.0
0.9%
20%
South Korea
140.6
16.0%
60%
India
140.4
6.3%
21%
China
82.0
8.0%
62%
Thailand
68.3
7.3%
37%
Source: IFPI
GReeeeN
08
09
Europe’s Digital Growth
Outpaces Global Average
European Market : US$ 7.3 billion
% Change : -6.3%
Digital Share : 10%
European Million Selling Albums By Origin
Music sales in Europe fell by 6.3% in 2008, driven by a steep
decline in physical sales (-11.3%). Europe’s digital market on the
other hand grew strongly, up 36.1% on 2007 now accounting for
10% of music sales in the region.
100
Since 2004, broadband connections across Europe have grown
by almost 95% and now outstrip those in the US. This growth
has opened up opportunities in the digital sector, with new
online services entering the market and new business models
being introduced. However, the European digital market still has
enormous untapped potential with widespread online piracy in
many markets acting as a major barrier to growth.
60
ther
n EU acts n US acts n O
There are also marked differences in internet penetration levels
across Europe, with Northern Europe showing faster adoption of
PCs and the internet. Nordic countries have an internet penetration
rate of 76% on average compared to 45% in Southern Europe.
The top two European markets showed modest overall market declines
of less than 5% in 2008. While digital sales helped offset the UK physical
decline, in Germany, CD sales saw a less steep decline. The UK and
France were the fastest expanding digital markets with digital growth
rates well above the global average. Eastern European markets also
delivered strong digital growth, including Poland, Russia and Turkey.
11%
30%
Top European Music Markets (Trade Values)
US$ (millions)
16%
12%
7%
6%
28%
37%
44%
28%
12%
19%
28%
37%
80
31%
65%
59%
60%
57%
47%
40
60%
50%
44%
20
0
2001
2002
2003
2004
2005
2006
2007
2008
Source: IFPI Platinum Europe Awards. Based on artist nationality, other includes compilations/
soundtracks and other nationalities
Top 50 Global Best Sellers By Origin
ther
n US acts n EU acts n O
100
23%
21%
7%
12%
19%
14%
80
The performance rights sector in Europe is a more mature
market than elsewhere in the world and accounted for more
than 70% of global performance rights revenues. Europe is also
home to the top three music licensing companies – PPL in the
UK, GVL in Germany and SCPP in France.
12%
26%
10%
10%
24%
26%
23%
26%
18%
74%
25%
74%
66%
60
10%
61%
64%
64%
52%
51%
40
20
% Change 07-08
% Digital
UK
1,845.4
-2.5%
14%
Germany
1,627.8
-4.2%
8%
France
1,049.6
-11.4%
15%
Italy
326.1
-17.0%
9%
Spain
302.4
-7.8%
10%
0
2001
2002
2003
2004
2005
2006
2007
2008
Source: IFPI. Other includes compilations/soundtracks and title sales from other nationalities
Source: IFPI
In terms of its creative output and exports, Europe remains a major
repertoire source to the world. Half of all albums with certified sales
of one million in 2008 in Europe were of European origin. Among
the top 50 global top sellers, European acts accounted for 25%
of sales in 2008, up from 23% in 2007, while the share of US acts
declined for the fourth consecutive year.
Looking at the breakthrough acts of 2008 (p 17), out of the 17
new acts reaching platinum status, 13 were of European origin
including 4 from the UK, 2 from Spain and 2 from Ireland.
Within Europe, the UK remains the continent’s most important centre
of artist and repertoire. Artists such as Duffy, Coldplay, Leona Lewis,
Seal, Radiohead and Dido sold significantly around the world in 2008.
In the US, British artists accounted for 1 in 10 artist albums sold and
there were large increases in shares recorded in France and Germany.
Amaia Montero (Spain)
09
10
Latin America Sees Strong Growth
In Digital Sales And Performance Rights
Music sales in Latin America fell by 4.7% in 2008. Four markets
saw overall music sales grow: Brazil (+8.1%), Central America
(+10.3%), Colombia (+5.0%) and Venezuela (+19.2%).
Latin America saw the sharpest rise in digital sales in 2008,
growing by nearly double the global rate (+46.6%). While this
is a positive development, digital sales in the region remained
below the global average, reaching a 12% share in 2008. Mobile
continued to account for the bulk of digital revenues in the
region (80%), with embedded music on mobile phones proving
a successful model in markets like Brazil.
The online digital market has been held back in Latin America by
a number of factors, including widespread illegal downloading,
low levels of trust online and lower credit card penetration.
“Expanding our business in Latin America today is about
developing partnerships between music creators, music services
and technology, and in turn, using technology to connect
consumers with artists. The music industry is driving these
partnerships with the mobile and online worlds to develop new
products and new distribution channels for delivering music to
fans. The result has been a variety of new offerings across a wide
range of services that have proven popular with consumers,
ranging from ring tunes and full track downloads, to advertisingsupported video services and subscription models. The future
offers huge potential for us to continue creating even more new
ways for all kinds of fans to experience and enjoy music.”
Sergio Lopes, VP, EMI Marketing / Digital Development and
Distribution, EMI Music Latin America
The opportunities are huge however. Brazilians spend more
time on the internet than any other nation and social networks
and services such as YouTube, MySpace and Orkut have
attracted big audiences. Ad-supported models have started
to grow in the region as a result.
Illegal downloading has hit a key audience in the region –
young consumers, digitally savvy, from AB/C+ economic
brackets. Research in Mexico highlighted that as many as
39% of the downloading population fit in the AB/C+ economic
group while this segment accounts for 20% of the Mexican
population. 90% of file-sharers in Mexico are aged between
12 and 26 years old (Ipsos MediaCT, 2008).
Performance rights growth in Latin America also outpaced
the global average, up 16.7% on 2007. Performance rights
now account for 5% of music revenues in the region.
“We are excited about digital services opening new revenue
streams in new markets. For example, the number of mobile
phone users in developing markets such as India, Russia or
Latin America is huge. We have the opportunity of reaching
them with some of these new business models. We now have
partners we can work with on a scalable international basis.”
Francis Keeling, Vice President, Digital, Universal Music Group
International
d
Pa
re
lo
ce
ar
M
si
s
Ro
10
11
New Business Models
For A New Era
Music companies and their partners have introduced a variety
of new legitimate services to supplement traditional business
models and adapt to new forms of consumer demand. These
include music access services, fully-interoperable download
stores, and advertising-supported offerings. At the same time,
music companies are working to develop new revenue streams,
ranging from creating value in the music experience, be it through
games or merchandising products, to brand partnerships and
improved broadcast and public performance rights.
“In 2008 we saw the emergence of new partners and business
models that have diversified the number of ways consumers
can acquire music. We look forward to seeing these new
models start to blossom in 2009 and 2010.”
Thomas Hesse, President Global Digital Business,
Sony Music Entertainment
“We are extremely active in developing new business models,
new sources of revenues. We are working with all the big
names in the field of internet, telecom equipment companies,
big media companies and this is a big opportunity. I really
believe we are at the turning point for the music industry.”
Jean-Bernard Levy, CEO of Vivendi (quoted in the Financial Times)
This diversification in the business models reflects the different
ways people wish to consume music. Some consumers are
passionate collectors with specialist interests, others prefer
to access a wide range of repertoire. Some will be high-value
customers prepared to spend hundreds of dollars a year on
music, others will want to pay as little as possible for a basic
service or not pay at all. Music companies and their partners are
reaching out to all different segments of music fans by offering
content in multiple platforms while placing emphasis on service
quality to increase consumers’ propensity to pay for content.
”The market will rely on an increasingly complex range of multifaceted models. That means more opportunities for fans to
connect with artists and vice versa - but being able to manage
such complexity is a challenge for artists and labels. To be
relevant to today’s music consumers and today’s artists, music
companies must develop and offer a new set of marketing skills
(especially in digital), starting with deep consumer insight, and
a truly global and demand-driven approach.”
Elio Leoni Sceti, Chief Executive, EMI Music
Music companies are broadening the way they secure revenue,
introducing an approach which relies on business partners
being able to deliver a fair average revenue per user (ARPU) and
developing scalability. Some of these partners do not require
consumers to pay at the point of listening, but bundle music
into a broader range of services such as broadband subscription
packages, mobile devices or cable TV subscriptions.
Examples of ’music access’ models launched in 2008 and early
2009 include Nokia’s Comes With Music available in the UK,
Italy, Sweden, Singapore and Australia; Sony Ericsson’s PlayNow
service first launched in Sweden as well as a service launched
by local telecom TeliaSonera; Denmark’s TDC PLAY; Vodafone
Spain’s unlimited music service; a music service from Finnish ISP
DNA and a number of such partnerships in France with ISPs and
mobile operators including Neuf Cegetel, Orange and SFR.
Meanwhile consumer choice in the traditional à-la-carte sector
is improving. Many services now offer their music catalogues
free of digital rights management (DRM), allowing for
interoperability between devices. Early 2009 marked the
introduction of variable pricing in the downloads market.
On iTunes, while many songs are still sold at 99 cents, some
new releases cost US$1.29 and many older catalogue
songs now sell for 69 cents. Amazon and other retailers
are also offering songs at different prices.
Devices like the iPhone are also helping drive mobile
music consumption. While still a niche device,
accounting for around 2% of UK mobile users,
iPhone users are much more likely to consume
music. 66% of iPhone owners listen to music on
their mobile compared to 41% of smartphone users
and 23% of all mobile users in the UK (comScore,
March 2009).
11
RIN2009-Ad:Layout 1
5/1/09
1:37 PM
Page 1
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% Share of Monthly Spend on Content
Among U.S. Music Buyers
24%
24%
8%
19%
16%
Video Games
DVD / BD Movies
DVD Rental
7%
Movie Tickets
Music Recorded
Music Concerts
Source: The NPD Group/Entertainment Trends
in America, Wave 4
www.npd.com
13
Music companies are also
working hard to monetise
the rapidly growing area
of social networks. Here
a free-to-user experience
predominates, presenting
a very different business
model. Spending by advertisers has tilted
towards online platforms in the last few years,
with the internet now accounting for 10.3% of
global advertising spend or US$ 49.9 billion. This
means online advertising has exceeded radio
advertising for the second consecutive year
(ZenithOptimedia). As this sector grows, the opportunities for
content industries online expand.
Increasingly, music platforms on social networks link the unlimited
streaming discovery environment with purchase opportunities.
As fans experience music in abundance and discover new
favourites, their likelihood to purchase increases. By integrating
the ‘free’ streaming experience with opportunities for consumers
to buy and permanently own tracks, music companies can open
up additional revenue streams.
Research by NPD Group in the US found that ad-supported
services have the potential to reach minimally 9-15 times the
current US subscription population. Younger consumers aged
13-34 years old are the most likely to be interested in an
ad-supported service. Consumers are willing to look at a
reasonable number of ads. 47% of internet users aged 13-55
were extremely/very interested in a free service with the features
they liked that required viewing ads. Moreover, consumers will
accept a limited number of free-to-own songs (they don’t demand
unlimited ownership), opening up opportunities for premium
services/up-selling.
“In the 90s, 70% of video product could not find a home and
was never played. Today there is a home on the internet for
every piece of content, but without getting selected, filtered
and eventually pushed by a trusted entity, it remains unplayed.
Distributing content is not pushing content. It may not be
fashionable to admit it but the push model is as relevant as ever.”
Peter Ruppert, Founder & President, Entertainment Media
Research Ltd
“The growth of non-retail services has been the biggest
development in 2008 for us, but it also poses challenges.
People are choosing to consume music in many different
ways and it is our responsibility to monetise those rights.”
Simon Wheeler, Director Of Strategy, Beggars Music Group
“The artist has created an asset and consumers are indicating
they appreciate that asset and assign a value to it. So we
need to establish an appropriate system in which rights
holders get paid for the use of this asset.”
Richard Story, COO, Sony Music Continental Europe
Music Companies Investing In Music
Research carried out by the BPI in the UK in 2008
found that 24% of record companies’ revenues were
spent on marketing and promotion in 2007. It is this
marketing investment that raises artists’ profiles and
creates demand. The same research found that record
companies invested an average of 21% of their revenues
in A&R over the years 2005-2007 – all of which record
companies fund upfront in the hope that the recordings
will be a commercial success and they will recover this
investment. A&R includes artist advances, recording and
origination costs (e.g. studio, engineering and production
costs), video costs, tour support, A&R staff overheads
and TV advertising expenditure.
The investment record companies put into the marketing
and promotion of an album prior to its release is vital to the
artist’s chances of success. Research by IFPI found that on
average, 56% of the total sales of an album’s life-cycle will
be achieved within the first four weeks of release.
Consumers are bombarded with information and various
industries are competing for consumers’ limited spend.
Moreover, competition is also fierce in the music scene,
with millions of artists hoping to expand their fan-bases.
An example of this is the number of acts with profile
pages on the social networking site MySpace. There are
more than 2.5 million hip hop acts alone on MySpace
and 1.8 million rock acts. Record companies need to
ensure that their marketing spend goes towards focusing
the public’s attention on the artist’s work, ensuring the
artist’s work reaches as many potential fans as possible.
All of that while trying to create a ‘connection’ between
fan and artists – a fundamental part of long-term artist
development and consumer loyalty.
In 2008 online video established itself as the most popular
online entertainment application, with more than 1 in 4 (28%)
Europeans watching short or full-length videos – an increase
of over 150% since 2006 (Forrester Research). Music videos
remained one of the top video categories online, evidenced by
the top most-watched videos on YouTube. Over half of the top 30
most-watched videos on YouTube are licensed music videos from
artists such as Avril Lavigne, Chris Brown and Rihanna.
In April 2009 Universal Music Group and Google partnered
to create a new music video service called Vevo, a central
repository for all of Universal’s visual content such as music
videos, interviews and concert footage. YouTube will provide
the technology behind the service, and will be the first online
streaming video service to syndicate the content. Negotiations to
bring the catalogue of other labels into the service are ongoing.
The service is due to launch towards the end of 2009.
13
14
Unauthorised Downloading Blights
The New Legitimate Online Business
The legitimate digital music sector has grown strongly but remains
far short of its potential. Unlawful downloading and swapping of
music online is not the only cause of the unfulfilled potential of the
digital music revolution – but it is a major one. Illegal music services
pose unfair competition to legitimate start-ups. In some cases they
make millions of dollars from selling online advertising and bundled
software on the back on unauthorised content distribution.
14
Unlawful file-sharing has proved most popular among younger
consumers – the early adopters of digital technology. While
16% of the general internet population in Europe file-share on
a regular basis, among the 15-24 year olds this figure jumps to
34%. This is three times the proportion of 15-24s consuming
music via legitimate à-la-carte services. In the UK 37% of filesharers are aged 16-24 and more than 70% are aged under 35
(Harris Interactive/BPI).
Peer-to-peer (P2P) file-sharing is the application producing most
internet traffic – ahead of web browsing, media streaming,
e-mail or instant messaging. Its share varies, but it is estimated
to range between 43-70% of all internet traffic depending on
the market (ipoque, Internet Study 2008/2009). P2P technology
has been of great interest to music companies as a legitimate
business tool. It has also, however, been a vehicle for massscale violation of creators’ copyrights.
P2P networks have not only had an immensely damaging effect
on adoption of legitimate online services – be it à-la-carte,
subscriptions or ad-supported, etc. – but they have also greatly
impacted the CD market for music. CD sales dropped by 34%
globally in trade revenues to record companies between 1999
and 2008. This coincides with the key period of growth
in usage of P2P.
In the US 18% of internet users aged 13+ used P2P services
in 2008. That figure has remained stable for the past three years
despite an increase in the volume of files illegally downloaded
(NPD Group). In Europe, 16% of internet users regularly swap
music on P2P (Forrester Research), again a figure that has
remained relatively stable over the past few years. In the UK,
15% of online users frequently file-share (Harris Interactive/BPI).
In Japan 10% of internet users were found to file-share in 2008,
a slight increase compared to 2007 (Media Interactive/RIAJ).
The link between the fall in recorded music sales and growth
in file-sharing is verified by numerous studies by academics
and by the industry. The majority of studies available around
the world find that file-sharing has had a significant impact on
recorded music sales. These include studies by Michael (2006),
Rob & Waldfogel (2006), Zentner (2003) and Liebowitz (2006).
Numerous consumer studies commissioned by the music
industry worldwide also support the claim that unauthorised
file-sharing harms sales.
15
A well-publicised study by Oberholzer and Strumpf (2004) found
no link between the fall in music sales and illegal downloading.
This study was reviewed by Liebowitz who concluded that “it
is probably something of an understatement to say that [their]
results did not hold up well under this re-examination” (How
Reliable is the Oberholzer and Strumpf Paper On File-Sharing?).
While consumer behaviour is clearly shaped by the lure of free,
consumers also clearly understand the importance of paying
creators. There is evidence that consumers generally believe
in the core principles of copyright, that is rewarding artists and
creators for their work:
›R
esearch commissioned by the Canadian Government
Research suggests the free availability of music is the driving
force behind the popularity of such services. A study by
Entertainment Media Research in the UK found that 71% of
music consumers who said they file-shared more heavily in 2008
cited ‘because it’s free’ as the main reason for their activity. In
Norway, research by Norstat in 2009 found that the most cited
reason for downloading music from unauthorised P2P sites
was also ‘because it’s free’. Only 4% of Norwegians said they
downloaded illegally because there was a lack of good enough
legal alternatives. Research in Japan indicated that the main
reason for use of P2P is ‘to download free music’, followed by
‘to download free movies’, ‘to download free music videos’ and
‘to download music files before they are released’. Moreover,
68% of P2P users in Japan claimed they didn’t purchase the
music after downloading it (RIAJ/Media Interactive).
(Environics’ Annual Social Values Monitor) found that 90% of
consumers backed strong copyright laws to protect creators
› In the UK 91% of non-file-sharers believe that artists deserve
compensation for their work and that paying for music is the
‘right and moral thing to do’ (Harris Interactive/BPI)
›R
esearch by Ipsos in France found that 80% of the French
population aged 15+ believes that artists and authors must be
remunerated when their songs are downloaded on the internet
› In Norway, 84% of Norwegians feel that it is reasonable that
those who have created the music should decide whether their
music should be sold or given away free (Norstat AS, 2009)
“The papers that have examined the impact of file-sharing can be categorised by result and by methodology. By results the
classification is quite simple. There is one study (Oberholzer and Strumpf, 2004) that claims to find a zero impact. All the other
studies find some degree of negative relationship between file-sharing and sales of sound recordings.”
Stan J. Liebowitz (University of Texas),
‘How To Best Ensure Remuneration For Creators In The Market For Music: Copyright And Its Alternatives’
Recorded Music Sales
Top 20 Markets
POSITION country
us$ M
1
US
4,976.8
2
Japan
4,109.0
3
UK
1,845.4
4
Germany
1,627.8
5
France
1,049.6
6
Canada
456.3
7
Australia
389.2
8
Italy
326.1
9
Spain
302.4
10
Netherlands
271.9
11
Brazil
221.8
12
Russia
220.8
13
Switzerland
192.5
14
Belgium
192.1
15
Austria
147.3
16
Mexico
145.9
17
Sweden
143.2
18
South Korea
140.6
19
India
140.4
20
Denmark
124.5
Other
1,391.5
Total
18,415.2
TRADE VALUES MARKET SPLIT
LOCAL CURRENCY M
% CHANGE
PHYSICAL
DIGITAL
PERF. RIGHTS
USD
4,976.8
-18.6%
63%
36%
1%
JPY
425,159.5
0.9%
78%
20%
2%
GBP
1,015.0
-2.5%
79%
14%
7%
EUR
1,106.9
-4.2%
87%
8%
5%
EUR
713.7
-11.4%
77%
15%
8%
CAD
488.2
-8.1%
79%
17%
4%
AUD
467.0
-6.0%
84%
13%
3%
EUR
221.7
-17.0%
82%
9%
9%
EUR
205.6
-7.8%
78%
10%
12%
EUR
184.9
-9.9%
76%
6%
18%
BRL
408.2
8.1%
81%
13%
6%
RUB
5,492.2
-2.4%
95%
3%
2%
CHF
207.9
-5.4%
90%
7%
3%
EUR
130.6
-4.8%
76%
10%
14%
EUR
100.2
-9.9%
84%
7%
9%
MXP
1,629.5
-22.0%
89%
11%
0%
SEK
944.0
-6.9%
84%
8%
9%
KRW 155,111.9
16.0%
40%
60%
0%
INR
6,151.9
6.3%
64%
21%
16%
DKK
635.0
-9.5%
73%
16%
12%
–
–
-5.0%
78%
15%
8%
–
–
-8.3%
75%
21%
4%
RETAIL VALUES
US$ M
LOCAL CURRENCY
8,597.8
8,597.8
5,600.7
579,504.0
2,430.3
1,336.7
2,355.4
1,601.7
1,559.6
1,060.5
600.9
642.9
578.4
694.1
462.8
314.7
409.9
278.7
373.5
254.0
328.3
604.0
410.2
10,201.0
243.6
263.1
268.9
182.9
272.9
185.5
231.5
2,586.0
215.7
1,421.4
294.8
325,078.2
179.3
914.5
179.3
914.5
2,205.8
–
27,824.6
–
Source: IFPI
15
16
Coldplay
Top 50 Global
Best Selling Albums
Coldplay’s fourth studio album, Viva La Vida or Death and All
His Friends, was the best-selling album of 2008 reaching sales
of 6.8 million units globally. This sales mark is the highest for
a number one album since 2005, when Coldplay topped the
global chart with X&Y.
Best Sellers By Genre
Combined sales of the global top 50 albums fell by 7.7%
in 2008, following a small increase in 2007. The top 10
album sales fell by a more modest 5.4%, with three acts
crossing the five million sales mark – Coldplay’s Viva La Vida or
Death and All His Friends, AC/DC’s Black Ice and Mamma Mia!
The Movie Soundtrack.
› Best Selling Rap/Hip-Hop Album: Lil Wayne, Tha Carter III
Two debut albums featured in the top 10 – Duffy’s Rockferry and
Leona Lewis’ Spirit – both UK acts. This compares with only one
debut album in the top 10 in 2007, Mika’s Life in Cartoon Motion,
also a UK act.
Frontline & Catalogue Sales
While the share of digital album sales remains relatively low
on average, it grew in 2008 to 6.1% of all album sales, from
4.3% in 2007. In the top 10, digital albums accounted for 6.5%
of all sales. However, there were big variations in digital share.
Madonna’s Hard Candy saw 18% of sales in digital format.
Other albums with a digital share of over 15% were:
OneRepublic’s Dreaming Out Loud (17%), Jason Mraz’s
We Sing, We Dance, We Steal Things (16%), Twilight OST (15%)
and Jack Johnson’s Sleep Through The Static (15%).
16
› Best Selling Rock Album: Coldplay, Viva La Vida or
Death and All His Friends
› Best Selling Pop Album: Duffy, Rockferry
› Best Selling Classical Album: Il Divo, The Promise
› Best Selling Country Album: Taylor Swift, Fearless
› Best Selling Compilation: Mamma Mia! The Movie Soundtrack
Catalogue sales (titles over 18 months old) represented 42%
of overall album sales in the US, up from 39% in 2007 and
36% in 2001. The growth in catalogue sales is also present
in the digital sector, with catalogue representing 48% of
all digital albums sold in 2008, compared to 46% in 2007
(Nielsen SoundScan).
In the UK, catalogue sales (titles released two years prior to
the current year) accounted for 29% of sales in 2008, slightly
up on 2007 (28%) (BPI based on data from The Official UK
Charts Company).
17
e
el
Ad
Number Of Albums Receiving A Platinum Award
2007-2008
Albums released
in 2008 receiving
a Platinum
Award in 2008
New Artists Receiving Platinum Awards
2008
Albums released
in 2007 receiving
a Platinum
Award in 2007
Platinum
Sales
Level*
New Artist
(first album
released in 2008)
Country where
Platinum Award
was received
Company
US
21
36
1,000,000
Adele
UK
XL Recordings
Japan
52
51
250,000
Amaia Montero
Spain
Sony Music
UK
27
32
300,000
Amanda Jenssen
Sweden
Sony Music
Germany
21
17
200,000
France
27
28
200,000
Cistercian Monks
of Heiligenkreuz
Austria, Belgium
Universal Music
Australia
42
48
70,000
Brazil
14
7
100,000
Duffy
Universal Music
Canada
14
25
80,000
Austria, Belgium,
Germany, New
Zealand, Sweden, UK
Sweden
26
21
40,000
Gabriella Cilmi
Australia
Warner Music
New Zealand
18
23
15,000
Belgium
19
17
20,000
Geoffrey Gurrumul
Yunupingu
Australia
MGM
Julien Dore
France
Sony Music
Lady GaGa
Australia
Universal Music
Los Pikadientes
de Caborca
US
Sony Music
Michael Hirte
Austria
Sony Music
N-Dubz
UK
Universal Music
Pitingo
Spain
Universal Music
The Priests
New Zealand,
Sweden, UK
Sony Music
The Script
UK
Sony Music
The Ting Tings
UK
Sony Music
Thomas Godoj
Germany
Sony Music
Source: IFPI. *Level applies to domestic repertoire threshold. For list of all national levels see
page 84.
Source: IFPI
17
18
Top 50 Global Best Selling
Albums 2008
Physical & digital formats included
ARTIST
TITLE
COMPANY
1 Coldplay
Viva La Vida Or Death
EMI Music
And All His Friends
2 AC/DC
Black Ice
Sony Music
3 Various Artists Mamma Mia! Universal Music
The Movie Soundtrack
4 Duffy
Rockferry
Universal Music
5 Metallica
Death Magnetic
Universal Music/
Warner Music
6 Leona Lewis
Spirit
Sony Music
7 Amy WinehouseBack To Black
Universal Music
8 Various Artists High School Musical 3: Walt Disney Records/
Senior Year
Universal/EMI
9 Lil Wayne
Tha Carter III
Universal Music
10 Rihanna
Good Girl Gone Bad
Universal Music
11 Madonna
Hard Candy Warner Music
12 Beyoncé
I Am... Sasha Fierce
Sony Music
13 P!nk
Funhouse
Sony Music
14 Guns N’ Roses Chinese Democracy
Universal Music
15 Britney Spears Circus
Sony Music
16 Jack Johnson Sleep Through The StaticUniversal Music
17 Il Divo
The Promise
Sony Music
18 Taylor Swift
Fearless
Big Machine/
Universal Music
19 Jonas Brothers A Little Bit Longer
Hollywood Records/
Universal Music
20 Various Artists Camp Rock OST
Walt Disney Records/
Universal/EMI
21 Kings Of Leon Only By The Night
Sony Music
22 Nickelback
Dark Horse
Warner Music/EMI Music
23 Miley Cyrus
Breakout
Walt Disney Records/
Universal Music
24 Kid Rock
Rock N Roll Jesus
Warner Music
ARTIST
TITLE
COMPANY
25 Enya
And Winter Came...
Warner Music
26 Mariah Carey E=MC2
Universal Music
27 Take That
The Circus
Universal Music
28 The Killers
Day & Age
Universal Music
29 Usher
Here I Stand
Sony Music
30 T.I.
Paper Trail
Warner Music
31 Kanye West
808’s & Heartbreak
Universal Music
32 Michael Jackson Thriller
Sony Music
(25th Anniversary Edition)
33 Katy Perry
One Of The Boys
EMI Music
34 Exile
Exile Ballad Best
Avex Marketing Inc.
35 Ne-Yo
Year Of The Gentleman Universal Music
36 Amy MacdonaldThis Is The Life
Universal Music
37 Abba
Gold
Universal Music
38 Namie Amuro Best Fiction
Avex Marketing Inc.
39 Jonas Brothers Jonas Brothers
Hollywood Records/
Universal Music
40 Seal
Soul
Warner Music
41 Sugarland
Love On The Inside
Universal Music
42 Celine Dion
My Love Essential
Sony Music
Collection
43 Exile
Exile Catchy Best
Avex Marketing Inc.
44 Dido
Safe Trip Home
Sony Music
45 Taylor Swift
Taylor Swift
Big Machine/
Universal Music
46 Chris Brown
Exclusive
Sony Music
47 Twilight
Twilight OST Warner Music
48 Jason Mraz
We Sing, We Dance,
Warner Music
We Steal Things
49 One Republic Dreaming Out Loud
Universal Music
50 Various Artists Now That’s What
EMI Music
I Call Music! 71
Source: IFPI
Duffy
ty
Ka
ay
ne
ry
r
Pe
W
Lil
18
19
Top 10 Global Best Selling
Best Selling Albums
Digital only
Physical & digital formats included
Digital Singles 2008 By Company 2008
ARTIST
TITLE
COMPANY
SALES
(M UNITS)
1 Lil Wayne
Lollipop
Universal Music
9.1
2 Thelma Aoyama
Sobaniirune
Universal Music
8.2
3 Flo Rida feat. T-Pain
Low
Warner Music
8.0
4 Leona Lewis
Bleeding Love
Sony Music
7.7
5 Timbaland
Apologize
Universal Music
6.2
6 GreeeeN
Kiseki
Universal Music
6.2
7 Katy Perry
I Kissed A Girl
EMI Music
5.7
8 Alicia Keys
No One
Sony Music
5.6
9 Usher feat. Young Jeezy Love In This Club Sony Music
5.6
10 Chris Brown
With You
Sony Music
5.5
Il Divo
Source: IFPI. Chart includes online single tracks, audio and video mastertones, ringback tones and
full track downloads to mobile. Period of 12 months to November 2008. Sales figures are rounded.
Combined all versions of the same song.
EMI Music
Artists
Title
Coldplay
Viva La Vida Or Death And All His Friends
Katy Perry
One Of The Boys
Various Artists
High School Musical 3 – Senior Year
Various Artists
Now That’s What I Call Music! 71
Utada Hikaru
Heart Station
Various Artists
Lenny Kravitz
It Is Time For A Love Revolution
Various Artists
The Old Time Radio Hour Christmas Program
Various Artists
Various Artists
Artists
Sony Music
Title
AC/DC
Black Ice
Leona Lewis
Spirit
Beyoncé
P!nk
Funhouse
Britney Spears
Circus
Il Divo
The Promise
Kings Of Leon
Only By The Night
Usher
Here I Stand
Michael Jackson
Thriller (25th Anniversary Edition)
Celine Dion
My Love Essential Collection
Artists
Universal Music
Title
Various Artists
Mamma Mia! The Movie Soundtrack
Duffy
Rockferry
Amy Winehouse
Back To Black
Lil Wayne
Tha Carter III
Rihanna
Good Girl Gone Bad
Guns N’ Roses
Chinese Democracy
Jack Johnson
Sleep Through The Static
Taylor Swift
Fearless
Jonas Brothers
A Little Bit Longer
Miley Cyrus
Breakout
Artists
Warner Music
Title
Madonna
Hard Candy
Kid Rock
Rock N Roll Jesus
Enya
And Winter Came...
Nickelback
Dark Horse
Metallica
Death Magnetic
T.I.
Paper Trail
Seal
Soul
Various Artists
Twilight Original Motion Picture Soundtrack
Jason Mraz
We Sing, We Dance, We Steal Things
Disturbed
Indestructible
Source: IFPI. List includes independent releases distributed by major labels.
19
20
IFPI
Platinum Europe Awards
IFPI’s Platinum Europe Awards were launched in 1996 to honour
artists who achieve album sales of one million units in physical
and digital formats across Europe. To this day the ‘Plats’ are an
established hallmark of success for artists in Europe.
2008 Milestones
› 52 albums received a Platinum Award in 2008, down from
57 in 2007
› 13 albums (25%) achieving a Platinum Award were
2008 releases
› The highest selling release of 2008 was Duffy’s Rockferry,
with sales of over 3 million in Europe
› The highest award level reached in 2008 went to Norah
Jones’ 2002 release Come Away With Me which reached
sales of 7 million
Award Winning 2008 Releases
Artist
Album
Duffy
Rockferry
Level
3
Universal Music
AC/DC
Black Ice
2
Sony Music
Coldplay
and All His Friends
2
EMI Music
Metallica
Death Magnetic
2
Universal Music
OST
Mamma Mia! The
Movie Soundtrack
2
Universal Music
Take That
The Circus
2
Universal Music
Enya
And Winter Came...
1
Warner Music
Guns N’ Roses
Chinese Democracy
1
Universal Music
Kings Of Leon
Only By The Night
1
Sony Music
Madonna
Hard Candy
1
Warner Music
OST
High School Musical
3 – Senior Year
1
Disney Music
Group
Seal
Soul
1
Warner Music
The Killers
Day & Age
1
Universal Music
Source: IFPI
!
ia
M
Madonna
a
m
am
M
Am
y
se
ou
eh
in
W
Fl
o
da
Ri
20
Company
21
Best Selling Albums Since Launch Of Awards
(1996-2008)
Artist
Album
Celine Dion
Falling Into You
Level
9
Sony Music
Celine Dion
Let’s Talk About Love
9
Sony Music
The Beatles
1
9
EMI Music
Celine Dion
D’eux
8
Sony Music
Bon Jovi
Crossroad
8
Universal Music
Spice Girls
Spice
8
EMI Music
U2
The Best Of 1990-2000
7
Universal Music
Shania Twain
Come On Over
7
Universal Music
7
Sony Music
Alanis Morissette Jagged Little Pill
Company
Madonna
Ray Of Light
7
Warner Music
Norah Jones
Come Away With Me
7
EMI Music
Source: IFPI
2008 Award Winners
ift
w
rS
lo
y
Ta
AWARD 2008
ARTIST
TITLE
COMPANY
LEVEL ENTRY
Norah Jones
Come Away With Me
EMI Music
7
Amy Winehouse Back To Black
Universal Music 6
Duffy
Rockferry
Universal Music 3
•
Take That
Beautiful World
Universal Music 3
U2
The Best Of 1990-2000 Universal Music 3
AC/DC
Black Ice
Sony Music
2
•
Amy Macdonald This Is The Life
Universal Music 2
Bryan Adams
Unplugged
Universal Music 2
Coldplay
EMI Music
2
•
And All His Friends
James Blunt
All The Lost Souls Warner Music
2
Leona Lewis
Spirit
Sony Music
2
Metallica
Death Magnetic
Universal Music 2
•
Michael Bublé
It’s Time
Warner Music
2
Michael Bublé
Call Me Irresponsible
Warner Music
2
OST
Moulin Rouge
Universal Music 2
OST
Mamma Mia! Universal Music 2
•
The Movie Soundtrack
OST
High School Musical
Disney Music Group2
Scissor Sisters
Ta-Dah!
Universal Music 2
Snow Patrol
Final Straw
Universal Music 2
Take That
The Circus
Universal Music 2
•
Westlife
Unbreakable – Sony Music
2
Greatest Hits
Alicia Keys
As I Am
Sony Music
1
•
Amy Winehouse Frank
Universal Music 1
•
Diana Krall
The Girl In The
Universal Music 1
•
Other Room
Enya
And Winter Came...
Warner Music
1
•
Franz Ferdinand You Could Have It So
Domino Records 1
•
Much Better
Girls Aloud
The Sound Of Girls Aloud Universal Music 1
•
Gregory LemarchalLa Voix D’Un Ange
Universal Music 1
•
Guns N’ Roses Chinese Democracy
Universal Music 1
•
Il Divo
Siempre
Sony Music
1
•
James
The Best Of James
Universal Music 1
•
Johnny Cash
I Walk The Line: Legend Universal Music 1
•
Of Johnny Cash
Kaiser Chiefs
Yours Truly, Angry Mob Universal Music 1
•
Kanye West
Late Registration
Universal Music 1
•
Kings Of Leon
Only By The Night
Sony Music
1
•
Linkin Park
Linkin Park Live In Texas Warner Music
1
•
Madonna
Hard Candy
Warner Music
1
•
Muse
Absolution
Warner Music
1
•
Neil Diamond
The Best Of
Universal Music 1
•
Neil Diamond
OST
High School Musical 2 Disney Music
1
•
Group
OST
High School Musical 3 – Disney Music
1
•
Senior Year
Group
Paul Potts
One Chance
Sony Music
1
•
Queens Of The Songs For The Deaf
Universal Music 1
•
Stone Age
Scorpions
Best
EMI Music
1
•
Seal
Soul
Warner Music
1
•
Sheryl Crow
The Very Best Of Sheryl Crow Universal Music 1
•
Stevie Wonder
The Definitive Collection Universal Music 1
•
The Cure
Greatest Hits
Universal Music 1
•
The Killers
Hot Fuss
Universal Music 1
•
The Killers
Day & Age
Universal Music 1
•
Westlife
The Love Album
Sony Music
1
•
Westlife
Back Home
Sony Music
1
•
Notes: Award level refers to million units sold, cumulative, across Europe since the launch of the
awards in 1996 up to 2008. 2008 entry refers to first IFPI Platinum Europe Award being given in 2008.
21
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23
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The Broader Music Industry
In 2008
Music companies are at the heart of
a broader music industry that is worth
over US$160 billion worldwide. Investment
in developing artists’ careers and new
product release is at the heart of the music
industry’s ecosystem, driving businesses
as diverse as the live sector and portable
player manufacturers.
Although the retail value of recorded music
sales fell by 9.4% in 2008, IFPI estimates that
the overall music sector saw modest growth
of 0.6%. Other areas that experienced a fall in
value included radio advertising and musical
instrument sales. Music instrument sales saw
persistent growth in the past five years, but in
2008 were hit by the economic downturn.
IFPI estimates that over two million people
are employed in the broader music sector
globally. Within the ‘core music’ sector
alone (including recorded music, live and
publishing/collecting societies), employment
is estimated at around 1.5 million people.
Broader Music Industry Value (US$ Billions)
35
32.9 32.5
n 2007 n 2008
30.7
27.8
25
24.9 25.0
24.2
19.2
15
21.6 18.2
16.4
10
8.6
5
Musical
instrument
sales
Music TV/mags
advertising
revenues
Source: IFPI estimates.
Live music
sector
Portable
digital
players
Audio home
systems
Recorded
music retail
sales
4.4
Radio
advertising
revenues
0
9.0
Broader Music Industry Value By Sector
1%
%
3
3
5%
%
19%
10%
17%
13%
14%
15%
n Radio advertising revenues
n Recorded music sales
n Audio home systems
n Live music sector
n Portable digital players
n Musical instrument sales
n Music TV/mags advertising revenues
n Music related video games sales
n Publishing
n Performance rights market
4.8
4.4
4.6
1.5
1.7
Performance
rights market
22.3
Publishing
20
Music related
video games
sales
30
Revenue from performance rights saw
the biggest percentage increase in 2008,
although it only accounts for 1% of the
overall industry. Other sectors experiencing
double-digit growth were the portable digital
player market and sales from music-related
video games such as Guitar Hero, Rock Band
and Singstar.
Note: IFPI does not track revenues from related industries directly. 2007
estimates may have been revised. Sources used: • Radio advertising
revenues: PWC Global Entertainment and Media Outlook 2008-2012
• Recorded music retail sales: IFPI estimate based on trade value
measurement • Audio home systems: estimate based on Euromonitor
home audio and cinema products (2007) • Live music sector: consists of
live performance revenues (ticket sales based on Pollstar data), plus an
estimate of merchandising and ancillary revenues. Sponsorship revenues
are included (IEG) • Portable digital players: In-Stat • Music instrument
sales: The Music Trades Global Market Report 2008 and IFPI estimates
• Music TV/mags advertising revenues: music magazine revenues are
estimates based on PWC data. Music channels advertising revenues relate
to Viacom’s advertising and affiliate revenues • Music related video games:
estimate based on Top Global Markets reported growth for top video game
markets and NPD Group estimates • Music publishing: IFPI estimate
• Performance rights market: IFPI data
23
24
Country Data Index
North America
Asia
27 : Canada
28 : USA
58 : China
60 : Hong Kong
61 : India
62 : Indonesia
63 : Japan
65 : Malaysia
66 : Philippines
67 : Singapore
68 : South Korea
69 : Taiwan
70 : Thailand
Europe
30 : Austria
31 : Belgium
32 : Bulgaria
33 : Croatia
34 : Czech Republic
36 : Denmark
38 : Finland
39 : France
41 : Germany
42 : Greece
43 : Hungary
44 : Italy
45 : Netherlands
46 : Norway
47 : Poland
48 : Portugal
49 : Russia
50 : Slovakia
51 : Spain
53 : Sweden
54 : Switzerland
55 : Turkey
56 : UK
Australasia
71 : Australia
72 : New Zealand
Latin America
73 : Argentina
74 : Brazil
75 : Chile
76 : Colombia
77 : Ecuador
78 : Mexico
80 : Peru
81 : Uruguay
82 : Venezuela
frica
A
83 : South Africa
24
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25
25
RIN 09 country index.indd 3
7/5/09 15:29:13
26
IFPI Recording Industry In Numbers 2009 – Canada
2
05
7
North America
Top Independent Labels (Alphabetical)
Canada
Aquarius Records Ltd.
Country Data
Disques Audiogramme Inc. (Les)
Population (millions) : 33.2
Déjà Musique Inc.
Median Age (years) : 40
Groupe Analekta Inc.
Currency : Canadian Dollar (CAD)
Groupe Archambault Inc.
US$ Exchange Rate : 1.07
Linus Entertainment Inc.
Chart Compiler : Nielsen SoundScan Canada
Maplecore Ltd.
Chart Links : www.soundscan.com
Nettwerk Productions
Performance rights music licensing company :
Neighbouring Rights Collective of Canada
Arts & Crafts Productions Inc.
Compagnie Larivée, Cabot Champagne (La)
Prodat Inc. (Disques Victoire)
Somerset Entertainment
Link : www.nrdv.ca
Source: Canadian Independent Record Production
Association (CIRPA)
Recorded music sales in Canada
continued to fall in 2008, driven by
a sharp decline in physical sales.
Traditional retail outlets accounted for
58% of album sales, down 5% on 2007
(Nielsen SoundScan). Digital sales on
the other hand grew at a rate above the
global average. Despite this positive
development, the proportion of digital
sales in Canada is still below the 21%
global benchmark and significantly below
the 36% US level.
digital. Canada’s peak in recorded music
revenues was 1998 – since then sales
have declined by 51%. Weak copyright
protection, particularly an outdated
copyright regime, remains the major
factor underlying the relative weakness
of Canada’s music market.
Coldplay’s Viva La Vida was the best
selling digital album of the year, with
46,700 units sold and was the second
leading album of the year with 334,000
copies sold. AC/DC’s Black Ice topped
the albums chart selling 341,000 units
and was not available in digital formats
(Nielsen SoundScan).
More than a decade after signing the
WIPO Internet Treaties, Canada still lacks
a modern, robust, digital-ready copyright
regime. Copyright reform legislation
similar to laws in Europe, the US and
elsewhere has been introduced twice
by Canada’s Parliament, most recently in
mid-2008, but neither bill was passed into
law. For Canadian consumers, this means
continued uncertainty about what kind of
activities are acceptable on the internet.
As a result, unauthorised file sharing has
proliferated in Canada.
Widespread file-sharing, other forms
of digital swapping and physical
counterfeiting continued to erode
legitimate sales – both physical and
Another impact of outdated laws is
the extremely limited choice of digital
services available to Canadian consumers
despite a flurry of innovative new digital
World Ranking
Physical sales
Digital sales
Performance rights
Total market
6
7
11
6
Digital Indicators (Millions)
Internet users
Broadband lines
Mobile subs
Portable player users
28.0
9.6
21.1
8.2
offerings introduced in Europe, the US
and Asia in 2008.
Inadequate IP protection is the key
reason for this lack of investment.
Canada lacks the marketplace integrity
online businesses need to be confident
they can earn a return on their investment.
Similarly, weak laws and enforcement
contribute to extensive physical
counterfeiting in Canada. Since CRIA
began dedicated anti-counterfeiting
operations about two years ago, the
association and police have seized
almost 700,000 CDs and issued scores
of cease-and-desist orders against
retailers of illicitly copied music.
Following a CRIA investigation, a single
raid last year against one of Canada’s
most notorious music counterfeiters
resulted in the seizure of more than
200,000 music CDs and DVDs,
hundreds of thousands of blank discs,
and equipment capable of burning well
over 10,000 CDs and DVDs a day.
26
RIN 09 Canada - USA.indd 2
7/5/09 15:20:04
27
IFPI Recording Industry In Numbers 2009 – Canada
3
46
8
Year
Recorded Music Sales (Trade Value)
US$ (M) Local Currency (M) Change
2008
456.3
488.2
-8.1%
2007
496.4
531.2
-14.1%
2006
577.7
618.1
-6.1%
2005
616.5
658.6
-2.7%
2004
632.3
676.6
-0.6%
(US$ Million, Trade Value)
Perf. Rights
Year
Physical
Digital
2008
359.1
77.0
20.1
2007
424.0
53.0
19.5
2006
527.3
32.2
18.1
2005
598.8
16.6
–
2004
630.2
2.1
–
Note: Performance rights revenues included from 2006. Digital sales
included from 2004.
Year
Digital Sales By Sector
Online Mobile Subscriptions Other
Recorded Music Sales Volume (Million Units)
Physical
Digital
Music Video Other Physical Single Tracks Digital Albums
2008
61%
27%
8%
4%
Year
CD
2007
56%
41%
3%
–
2008
35.0
3.1
0.1
40.7
3.4
2006
58%
41%
1%
–
2007
40.8
3.3
0.1
25.8
2.0
2005
70%
29%
1%
–
2006
49.1
3.9
0.2
14.9
1.0
2004
97%
–
3%
–
2005
52.5
4.3
0.3
6.7
0.5
2004
54.8
5.2
0.5
–
–
Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks
refer to online single track sales only (Source: Nielsen SoundScan).
4%
Top Selling Albums 2008
Artist
Title
Company
1
AC/DC
Black Ice
Columbia
2
Coldplay
Viva La Vida
Parlophone
3
Metallica
Death Magnetic
Warner
4
Nickelback
Dark Horse
Roadrunner
5
Jack Johnson
Universal
6
Soundtrack
Mamma Mia!
Decca
7
Madonna
Hard Candy
Warner
8
Il Divo
Promise
Sony Music
9
Britney Spears
Circus
Sony Music
10
Kid Rock
Rock N Roll Jesus
Atlantic
Source: Nielsen SoundScan
17%
79%
11%
7%
35%
24%
23%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Performance rights
n Online single track
n Online album
n Mastertones
n Subscriptions
n Other
27
7/5/09 15:20:09
28
IFPI Recording Industry In Numbers 2009 – USA
2
05
7
North America
USA
Country Data
Currency : US Dollar (USD)
Chart Compiler : Nielsen SoundScan
Concord Records
CURB
Epitaph Records
Koch Entertainment
Madacy
Razor & Tie
Starbucks
Sub Pop
Walt Disney Records/Buena Vista/
Hollywood Records
Sound Exchange
Wind-Up Records
Though digital sales continued to grow at
a rapid pace in 2008 and constituted 36%
of the total market, they did not offset the
sharp decline in physical sales in the US.
Digital sales continued to grow, up
16.5%, with iTunes now the biggest
music retailer in the US. Single track
downloads crossed the one billion mark
for the first time, reaching 1.1 billion
units. Digital album sales grew at a
slightly higher rate than individual tracks.
In the mobile sector, gains in mobile full
track downloads and ringback tones were
offset by a decline in mastertone sales.
The number of internet users paying for
digital music continued to grow in 2008.
In 2008 NPD estimates that 36 million
consumers downloaded at least one
song from an a-la-carte service, such as
iTunes or AmazonMP3, up from 28 million
in 2007. This translates to one in every
five internet users. Not only is the market
growing, but there is plenty of headroom
to attract more users.
Equally significant, for the first time
ever, the share of internet users who
downloaded music legally in the past
year (20%) has surpassed the share of
those who have downloaded a song
illegally (18%), a major milestone in the
development of the legal marketplace.
Though still a small part of the overall
market, vinyl was a bright spot in the
physical sector as shipments more than
doubled year-over-year to their highest
level since 1990, bolstered by demand for
both new release and catalogue material.
The performance rights sector also fared
well in the US, with revenues more than
doubling year-over-year. Performance
rights revenues represent an increasingly
Physical sales
Digital sales
Performance rights
Total market
2
1
5
1
Victory Records
Chart Links : www.soundscan.com
Link : www.soundexchange.com
World Ranking
important piece of the US music industry
landscape as fans acquire less music
through traditional means, but access it
online through an expanding number of
platforms such as social networking sites,
online video sites and other streaming
services. The industry expects to see
significant growth in performance income
in the coming years. This is one of the
reasons why music labels, songwriters
and artists have demanded fair market
rates during industry and company
negotiations with these services.
Lil Wayne’s Tha Carter was the biggest
selling album of 2008 (2.9 million units),
22% fewer than Josh Groban’s Noel in
2007. Deep catalogue sales saw the
smallest decrease, falling by 7% in
sales volume year-over-year. This
compares to a 19% drop in sales of
current albums (Nielsen SoundScan).
Looking at artist sales across all their
releases, the top selling artist of 2008
was Taylor Swift, who sold four million
albums. AC/DC and Lil Wayne followed
with 3.4 million units sold each. Rihanna
was the best selling digital artist with
nearly ten million single tracks sold.
Coldplay claimed the top selling digital
album (600,000 units), with Viva La Vida
becoming the best selling digital album
ever. Digital downloads accounted for
15% of all album sales in 2008, up from
10% in 2007 (Nielsen SoundScan).
The US market saw the launch of new
digital services in 2008, expanding
consumer choice. MySpace Music
launched in September 2008 offering users
free unlimited audio and video streaming.
The service features a ‘buy button’ that
directs users to AmazonMP3 for music
downloads. This move represents a
significant expansion of MySpace from a
Internet users
Broadband lines
Mobile subs
248.2
79.1
261.5
101.0
simple social networking site to ‘a place
for music’ using its core community
feature as its foundation. Other important
partnerships in the social networking
sector include YouTube and iMeem.
Music companies in the US are also
experimenting with new models that
give fans more flexibility in how and
where they can access their favourite
music. Major labels began selling
digital downloads without DRM, so
fans will not have to worry about device
interoperability. Services such as Lala
allow fans to enjoy unlimited streaming
of tracks for a very low price, and act as
a digital locker so users can listen to their
music from any computer with internet
access. Starting in 2009, digital songs
began selling at varied price points,
allowing artists and record labels more
flexibility to position their offerings as
they see fit.
US Broadcast Right
US corporate radio generated US$17.8
billion in advertising revenues in 2008
(PWC). Despite massive revenues,
analogue stations pay nothing to
producers and performers for the music
they use to attract listeners. The US is
the only developed free-market country
not to have a broadcast right, apart from
Singapore. In 2008 artists and other
members of the music community came
together to form musicFIRST (Fairness
in Radio Starting Today) to campaign for
the US Congress to change the law and
grant a broadcast right. Legislators have
introduced a performance rights bill in
response and it is hoped that 2009 will
see the US join the rest of the world in
ensuring radio stations pay a fair price
for the music that is essential to
their business.
28
7/5/09 15:20:09
29
IFPI Recording Industry In Numbers 2009 – USA
3
46
8
Year
2008
4,976.8
4,976.8
-18.6%
2007
6,113.5
6,113.5
-8.1%
2006
6,651.5
6,651.5
-5.1%
2005
7,011.9
7,011.9
-2.8%
2004
7,214.2
7,214.2
4.7%
Perf. Rights
Year
Physical
Digital
1
iTunes
2008
3,138.7
1,783.3
54.8
2
Walmart
2007
4,559.1
1,530.9
23.5
3
Best Buy
2006
5,542.0
1,094.2
15.3
4
Amazon
2005
6,376.0
636.0
–
5
Target
2004
7,002.7
211.5
–
Source: NPD MusicWatch. Combined physical
and digital retailers (% unit sales, Q4 2008)
among the total US population aged 13+.
included from 2004.
Year
Top Retailers
Physical
Digital
2008
65%
24%
7%
4%
Year
CD
2007
60%
31%
7%
2%
2008
384.7
12.8
4.3
1,070.0
65.8
2006
56%
35%
9%
–
2007
511.1
27.5
5.4
844.2
50.0
2005
56%
32%
12%
–
2006
619.8
23.2
5.3
582.0
32.6
2004
62%
27%
11%
–
2005
705.4
33.8
9.5
352.7
16.3
2004
767.0
32.8
14.3
142.6
5.5
Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks
refer to online single track sales only. (Source: Nielsen SoundScan).
1%
Artist
Title
Company
1
Lil Wayne
Tha Carter III
Universal
2
Coldplay
Viva La Vida
Parlophone
3
Taylor Swift
Fearless
Big Machine
4
Kid Rock
Rock N Roll Jesus
Atlantic
5
AC/DC
Black Ice
Columbia
6
Taylor Swift
Taylor Swift
Big Machine
7
Metallica
Death Magnetic
Warner
8
T.I.
Paper Trail
Atlantic
9
Jack Johnson
Universal
10
Beyonce
Columbia
16%
7%
36%
63%
39%
17%
21%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Online album
n Mastertones
n Subscriptions
n Other
Album Sales By Retail Channel (% Units)
2007
2008
Mass merchants
40%
37%
Chains
36%
33%
Non-traditional outlets
18%
23%
Independent stores
6%
7%
29
7/5/09 15:20:14
30
IFPI Recording Industry In Numbers 2009 – Austria
2
05
7
Europe
Austria
Country Data
World Ranking
Echo-Zyx Music
Edel Musica
Currency : Euro (EUR)
Hoanzl
Lotus Records
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : Media Control Austria
MCP
Chart Links : www.austriatop40.at
Preiser
LSG
Rebeat
16
23
13
15
Internet users
Broadband lines
Mobile subs
SPV
Link : www.lsg.at
4.7
1.8
10.0
1.2
Recorded music sales in Austria fell by 9.9% in 2008. Digital sales grew by 6.2% – one of the lowest growth rates in Europe.
Digital sales still account for 7% of total revenues compared to a European average of 10%. Online sales continued to drive the
digital market, with digital album sales growing strongly. Streaming services, such as YouTube, are becoming increasingly popular.
In the mobile sector, mastertones still lead the field although the market continues to shift towards single track downloads to mobile.
Online sales of physical product account for 11% of sales in Austria, with the share of specialist retail decreasing from 6% to 5%.
65% of the Austrian market is accounted for by larger retail outlets such as Cosmos, Libro and Media-Saturn.
The mail order business, including club sales, accounted for around 3% of the total market (GfK). The broader Austrian music
industry generates around €2 billion, accounting for 1.25% of GDP. In terms of value creation and employment, the music industry
is therefore more important than the textile industry, paper industry, chemical industry or plastics industry (IFPI Austria). Austria
has some of the best facilities for performing arts venues in Europe, with 54% of all Austrian performance venues located in Vienna.
Year
2008
147.3
100.2
-9.9%
2007
163.5
111.2
-1.2%
2006
165.5
112.6
-1.4%
2005
163.2
111.0
-4.5%
2004
170.9
116.2
-6.8%
Perf. Rights
Year
Physical
Digital
1
Media-Saturn
2008
123.6
10.2
13.5
2
Libro
2007
140.8
9.6
13.1
3
Amazon
2006
144.9
8.4
12.2
4
Cosmos
2005
158.2
5.0
–
2004
169.4
1.6
–
Top Retailers
included from 2004.
Year
CD
Physical
Digital
2008
52%
46%
–
2%
Year
2007
42%
58%
–
–
2008
8.2
1.1
0.9
3.0
0.3
2006
31%
69%
–
–
2007
10.0
0.6
1.2
2.0
0.2
2005
31%
67%
2%
–
2006
10.1
0.7
1.1
1.2
0.1
2004
17%
83%
–
–
2005
10.5
0.6
1.3
0.6
–
2004
9.7
0.6
1.8
–
–
Note: Other includes ad-supported revenues and other digital amounts.
Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online
single track sales only (source: Nielsen SoundScan International). Digital albums source: Media Control GfK International GMBH
Artist
Title
Company
1
El Canto Del Loco
Chant - Music For Paradise
Universal
2
Amy Winehouse
Back To Black
Universal
3
Soundtrack
Mamma Mia (Der Film)
Universal
4
Kiddy Contest Kids
Kiddy Contest Vol.14
SME
5
AC/DC
Black Ice
SME
6
Metallica
Death Magnetic
Universal
7
Amaral
Was Muss Muss – Best Of
Capitol
8
Soundtrack
High School Musical 3
Capitol
9
Coldplay
Viva La Vida
Capitol
10
Ich + Ich
Vom Selben Stern
Universal
7%
9%
11%
7%
84%
24%
35%
23%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Online album
n Mastertones
n Subscriptions
n Other
30
RIN 09 Austria - Belgium.indd 2
7/5/09 15:02:26
31
IFPI Recording Industry In Numbers 2009 – Belgium
3
46
8
Europe
Belgium
Country Data
World Ranking
ARS
CNR
NEWS
PIAS
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : Ultratop/Gfk
V2
14
16
9
14
Chart Links : www.ultratop.be
Internet users
Broadband lines
Mobile subs
SIMIM
Link : www.simim.be
5.5
2.9
11.0
1.3
Belgian music sales dropped by 4.8% in 2008 following a modest decline in 2007. Performance rights continued to outpace digital
sales, accounting for 14% of all music revenues compared to a digital share of 10%. In 2008 experimentation with new business
models paid off with bundled subscription revenues seeing significant growth. Subscriptions now account for nearly a third of all
digital revenues.
Ad-supported models are also emerging, led by services such as Daily Motion and YouTube. Local artists continue to sell well with
over 20% of the top selling albums coming from Belgian artists, such as Helmut Lotti, Clouseau, dEUS and Milk Inc. While music
sales declined, entertainment spending grew by 6% in Belgium in 2008, led by video games and video (BEA).
Year
2008
192.1
130.6
-4.8%
2007
201.8
137.2
-0.4%
2006
202.6
137.7
6.4%
2005
190.3
129.4
-7.2%
2004
205.0
139.4
-1.9%
Perf. Rights
Year
Physical
Digital
2008
146.2
19.8
26.1
2007
169.5
13.4
18.9
2006
179.2
11.4
12.0
2005
186.7
3.6
–
2004
203.9
1.1
–
included from 2004.
Year
Physical
Digital
2008
58%
9%
32%
1%
Year
CD
2007
54%
33%
12%
1%
2008
11.6
1.0
0.7
5.3
0.4
2006
54%
46%
–
–
2007
13.2
1.2
1.0
5.2
–
2005
70%
23%
7%
–
2006
17.5
1.1
2.0
3.2
–
2004
34%
66%
–
–
2005
14.0
1.0
2.8
1.0
–
2004
15.6
1.6
3.6
–
–
Note: Music video includes DVD and VHS. Other physical includes singles and other. Single tracks refer to online single track
sales only (source: Nielsen SoundScan International). Digital albums source: BEA/Media Control GfK International GMBH
Artist
Title
Company
1
Coldplay
Viva La Vida
EMI
2
Enfoirés
Les Sécrets Des Enfoirés
Sony Music
3
Amy Winehouse
Back To Black
Universal
4
Francis Cabrel
Des Roses Et Des Orties
Sony Music
5
Clouseau
Clouseau 20
EMI
6
AC/DC
Black Ice
Sony Music
7
Christophe Mae
Mon Paradis
Warner
8
Renan Luce
Repenti
Universal
9
Duffy
Rockferry
Universal
10
Amy MacDonald
This Is The Life
Universal
Source: Ultratop/GfK
14%
5%
10%
11%
36%
16%
76%
32%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Subscriptions
n Online album
n Mastertones
n Other
31
RIN 09 Austria - Belgium.indd 3
7/5/09 15:02:30
32
IFPI Recording Industry In Numbers 2009 – Bulgaria
2
05
7
Europe
Bulgaria
Country Data
World Ranking
Ara Music
Payner Company
Currency : Lev (BGL)
Stefkos Music
Sunny Music Ltd.
Physical sales
Digital sales
Performance rights
Total market
Source: Bamp
46
–
–
47
Internet users
Broadband lines
Mobile subs
2.4
0.6
10.3
–
Physical sales in Bulgaria fell by 18.7% in 2008. Although there is a mobile-based digital music market in Bulgaria, these figures are
not yet reported to IFPI. The near 100% internet piracy rate is a key reason behind the recent market decline. Bulgaria takes the first
place in Europe for speedy broadband connections – 46.5% of the fixed broadband lines have more than 10Mbps speed according
to the European Commission. However, Bulgaria’s legal framework dealing with the internet and ISP activity is inadequate. Inept
criminal investigations and the lack of both administrative capacity and effective court performance fail to prevent law infringers.
In such an environment, there has been little investment in developing the legal online market in Bulgaria. Legal sites such as
www.mp3.bg, www.m.dir.bg and www.novialbumi.com focus on local repertoire but so far have failed to take off.
In February 2009 a joint project of the Bulgarian Telecommunication Company BTC, the biggest ISP in Bulgaria, and Universal Music
Group, created the first subscription based legal music portal www.4fun.bg. The service offers access to more than 100,000 tracks
from Universal’s catalogue.
Year
2008
6.3
8.1
-18.7%
2007
7.8
9.9
–
2006
–
–
–
2005
–
–
–
2004
3.8
4.9
-22.7%
Top Retailers
1
Ciela
2
Fashion Music
Source: Bamp
Note: No digital or performance rights revenues reported. 2006 values
not available.
Physical
Digital
Year
CD
2008
1.0
–
0.1
–
–
2007
0.8
0.1
0.2
–
–
2006
0.7
–
0.5
–
–
2005
–
–
–
–
–
2004
0.4
–
0.5
–
–
Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.
32
RIN 09 Bulgaria - Croatia.indd 2
7/5/09 15:10:56
33
IFPI Recording Industry In Numbers 2009 – Croatia
3
46
8
Europe
Croatia
Country Data
World Ranking
Croatia Records
Hit Records
Currency : Kuna (HRK)
Scardona
Physical sales
Digital sales
Performance rights
Total market
ZAPRAF
Internet users
Broadband lines
Mobile subs
Link : www.zapraf.hr
Year
43
–
–
43
2008
12.5
61.8
-12.9%
2007
14.4
71.0
-8.0%
2006
15.6
77.2
27.2%
2005
12.3
60.7
-10.8%
2004
13.8
68.1
-8.1%
2.0
0.4
5.6
–
Perf. Rights
Year
Physical
Digital
1
Croatia Records Shop
2008
12.5
–
–
2
Sirius
2007
14.4
–
–
3
Aquarius Records Shop
2006
12.5
–
3.1
4
Dancing Bean Shop
2005
12.3
–
–
5
Mercaton
2004
13.8
–
–
6
Spar
7
INA
Top Retailers
Note: Performance rights revenues included from 2006.
Physical
Digital
Year
CD
2008
3.9
0.2
0.1
–
–
2007
4.9
0.1
0.1
–
–
2006
2.1
–
0.1
–
–
2005
1.6
–
0.1
–
–
2004
2.6
–
0.2
–
–
33
RIN 09 Bulgaria - Croatia.indd 3
7/5/09 15:10:58
34
IFPI Recording Industry In Numbers 2009 – Czech Republic
2
05
7
Europe
Czech Republic
Country Data
World Ranking
BESTI.A
Good Day Records
Currency : Czech Crown (CZK)
Championship Records
Indies Records
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : IFPI Czech Republic
Indies Scope
Chart Links : www.ifpicr.cz
Multisonic
Intergram
Popron Music
Link : www.intergram.cz
Tommü Records
The Czech recorded music market was
one of the few markets showing overall
growth in 2008. Music sales were up
14.0%, with physical sales growing by
15.6%. This increase was driven by the
exceptional success of kiosk sales.
and Vodafone are the main mobile players
in a market with over 100% penetration
of mobile phones.
iPhone 3G in its first weeks since launch in
September 2008. On the other hand, Nokia
phones with MP3 players are very popular.
In the online sector, the most successful
service is i-legalne.cz, which offers
a-la-carte downloads and a monthly
subscription with DRM. Other legitimate
services in Czech Republic include
Allmusic and t-music. iPods are not very
popular in the Czech Republic and iTunes
is not present in the market. T-Mobile
and Vodafone reported modest sales of
Regarding piracy, at the beginning of
2008 IFPI Czech Republic monitored
more than 90 hubs with about 65,000
users daily. By November 2008 there
were approximately 60 hubs with less
than 25,000 users. The most popular filesharing servers are Rapidshare, stahuj.cz,
uloz.to and speedyshare.com. Usage of
bittorrent sites is rising.
The digital market in the Czech Republic
grew in 2008, but by a very modest rate
of 5.3% – well below the global average.
Mobile accounted for 44% of digital
sales, with master ringtones and ringback
tones leading the sector. T-Mobile, O2
33
40
25
35
Internet users
Broadband lines
Mobile subs
Supraphon
5.1
1.9
13.3
1.1
l
ha
ic
M
H
ek
ac
or
a
m
am
M
!
ia
M
34
RIN 09 Czech Rep - Denmark.indd 2
7/5/09 15:32:24
35
IFPI Recording Industry In Numbers 2009 – Czech Republic
3
46
8
Year
2008
41.8
714.4
14.0%
2007
36.6
626.6
-1.0%
2006
37.0
632.8
6.6%
2005
34.7
593.7
-21.9%
2004
44.5
760.6
1.4%
Perf. Rights
Year
Physical
Digital
1
Bontonland
2008
34.1
2.1
5.6
2
Davay
2007
29.5
2.0
5.2
3
Vltava Stores
2006
31.3
1.2
4.5
4
Music Records
2005
34.7
–
–
2004
44.5
–
–
Top Retailers
Note: Performance rights revenues and digital sales included from 2006.
Year
Physical
Digital
2008
47%
44%
1%
8%
Year
CD
2007
36%
59%
–
5%
2008
11.5
–
0.3
–
–
2006
1%
98%
–
1%
2007
4.5
0.2
–
–
–
2005
–
–
–
–
2006
2.9
0.3
0.1
–
–
2004
–
–
–
–
2005
3.2
0.2
0.2
–
–
2004
3.7
0.2
0.5
–
–
1
Artist
Title
Company
Jarek Nohavica
Ikarus
Jarek Nohavica
2
Various
Mamma Mia! OST
Universal
3
Michal Horacek
Ohrozeny Druh
Sony Music
4
Metallica
Death Magnetic
Universal
5
AC/DC
Black Ice
Sony Music
6
Enya
And Winter Came...
Warner
7
Ebenove Bratri
Chlebicky
Sony Music
8
Il Divo
Promise
Sony Music
9
Various
Once OST
Sony Music
10
Lucie Vondrackova
Fenix
Tommü Records
14%
15%
7%
5%
26%
8%
81%
22%
9%
13%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Online stream
n Mastertones
n Ringback tones
n Online single
n Ad-supported
n Online album
n Other
35
7/5/09 15:32:29
36
IFPI Recording Industry In Numbers 2009 – Denmark
2
05
7
Europe
Denmark
Country Data
World Ranking
ArtPeople
Bonnier Amigo Music
Currency : Danish Kroner (DKK)
MBO
Playground Music
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : Nielsen Music Control
Voices Music & Entertainment
Chart Links : www.hitlisten.nu
Internet users
Broadband lines
Mobile subs
Gramex
Link : www.gramex.dk
Recorded music sales in Denmark fell by
9.5% in 2008 driven by a steep decline in
physical sales. The Danish digital market
is performing well, now accounting for
16% of overall sales. In 2008 digital sales
in Denmark grew at nearly double the
global average pace, up 45.3%. Revenues
from performance rights now account for
12% of music sales.
Within the digital market, subscriptions
saw the biggest rise in 2008, led by
TDC’s PLAY bundled subscription service
which had a measurable impact on the
market, bringing in new consumers to the
legitimate online market. Subscriptions
now account for 39% of digital revenues,
up from 13% in 2007.
21
17
12
20
TDC’s PLAY service, launched in April 2008,
is offered to TDC’s broadband and mobile
customers. Customers can sign up to the
service and get unlimited tethered music
downloads in WMA format from a catalogue
of 3 million tracks. The tracks are free,
bundled into the standard cost of a broadband
or mobile subscription. Songs can be kept
for as long as the user continues to be a TDC
customer. In April TDC also introduced an
a-la-carte service, allowing its customers to
purchase tracks for permanent use.
Since launch PLAY has aggregated 92,000
active monthly users. PLAY generates
around 7.2 million tethered downloads a
month. Total downloads crossed the 54
million mark at the end of 2008 and TDC
3.8
2.0
7.6
1.2
expects this to rise to 100 million before
the end of the second quarter of 2009.
Music consumption on the PLAY service
is very different to the iTunes experience.
The majority of downloads are albums
instead of singles. The unlimited nature
of the service is the main reason for this
trend. Most downloads are done via the
PC rather than via mobile phone.
Results of PLAY for TDC have also been
positive. Preliminary figures indicate that the
churn in mobile customers has dropped by
30-40% and in broadband customers by
some 60%. This loyalty-effect creates a lot
of value for TDC. Moreover, TDC reports that
PLAY is helping them attract new customers.
s
Sy
re
er
Bj
Duffy
36
7/5/09 16:12:15
37
IFPI Recording Industry In Numbers 2009 – Denmark
3
46
8
Year
2008
124.5
635.0
2007
137.5
701.5
-9.5%
-5.6%
2006
145.6
742.7
11.6%
2005
130.5
665.4
-3.7%
2004
135.5
690.9
-3.7%
Perf. Rights
Year
Physical
Digital
2008
90.4
19.4
147.7
2007
111.4
13.4
12.8
2006
122.7
7.8
15.0
2005
128.6
1.8
–
2004
135.5
–
–
included from 2005.
Year
Physical
Digital
2008
51%
8%
38%
3%
Year
CD
2007
70%
14%
13%
3%
2008
7.4
0.1
0.1
6.1
0.4
2006
64%
20%
15%
1%
2007
8.6
0.2
0.1
4.7
–
2005
82%
18%
–
–
2006
9.8
0.3
0.1
2.2
–
2004
–
–
–
–
2005
9.6
0.3
0.2
0.5
–
2004
9.7
0.4
0.2
–
–
Note: Music video includes DVD, VHS and VCD. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online
single track sales only. (Source: Nielsen SoundScan International). Digital albums source: Media Control GfK International GMBH.
Artist
Title
Company
1
Duffy
Rockferry
Universal
2
Martin
Show The World
Sony Music
3
Various
M:G:P 2008: It’s Just
Something We Leger!
Universal
4
SYS Bjerre
Makes It Even
Universal
5
Nik & Jay
The Greatest
EMI
6
AC/DC
Black Ice
Sony Music
7
Metallica
Death Magnetic
Universal
8
Loc
Melankolia/XxxCouture
EMI
9
Creedence Clearwater Revival
Best Of
Universal
Kim Larsen
Forgotten Of Children
EMI
10
12%
13%
16%
39%
21%
72%
27%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Subscriptions
n Online album
n Other
37
7/5/09 16:12:20
38
IFPI Recording Industry In Numbers 2009 – Finland
2
05
7
Europe
Finland
Country Data
World Ranking
Bonnier Amigo Music Finland
Edel Records Finland
Johanna Kustannus Oy
Ondine Oy
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : Finnish National Broadcasting Company
Oy FG-Naxos Ab
Chart Links : www.yle.fi/top40
Internet users
Broadband lines
Mobile subs
Gramex/IFPI Finland
Link : www.gramex.fi
Year
2008
95.9
65.2
-0.2%
2007
96.1
65.4
-5.8%
2006
102.1
69.4
6.8%
2005
95.6
65.0
-3.4%
2004
98.9
67.3
-13.5%
23
31
17
24
3.6
1.6
5.9
0.7
Perf. Rights
Year
Physical
Digital
2008
80.7
4.4
2007
82.6
3.7
10.7
9.9
2006
89.4
2.2
10.4
2005
95.6
–
–
2004
98.9
–
–
Year
Physical
Digital
2008
68%
23%
–
9%
Year
CD
2007
63%
36%
1%
–
2008
6.5
0.4
0.1
1.0
–
2006
61%
38%
1%
–
2007
6.4
0.4
0.2
0.8
–
2005
–
–
–
–
2006
6.9
0.4
0.3
0.4
–
2004
–
–
–
–
2005
7.4
0.4
0.3
0.1
–
2004
7.4
0.3
0.5
–
–
Note: Music video includes DVD, VHS and VCD. Other physical includes singles, vinyl, cassette and other. Single tracks
refer to online single track sales only (source: Nielsen SoundScan International).
2%
5%
5%
11%
9%
33%
19%
84%
32%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Online album
n Mastertones
n Ad-supported
n Mobile single track
n Other
38
RIN 09 Finland - France - Germany.indd 2
7/5/09 15:35:01
39
IFPI Recording Industry In Numbers 2009 – France
3
46
8
Europe
France
Country Data
World Ranking
Harmonia Mundi
Naïve
Pschent
V2
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : SNEP/IFOP
Wagram
Chart Links : www.disqueenfrance.com
Internet users
Broadband lines
Mobile subs
SCCP
Link : www.sccp.fr
Music sales in France fell by 11.4% in
2008 despite strong growth in digital and
performance rights revenues. Physical
sales in France fell by 19.9% and the
market saw new lows in new artists
signed. Local repertoire fell more sharply
than international sales in 2008, now
representing 57% of the French market
(excluding classical). Music sales via
supermarkets saw a 6% decline in 2008,
now representing 34% of physical retail
sales – a decline from a 49% share in 2003.
France has been the government to act
most decisively to curb online piracy,
proposing legislation that would encourage
legal music consumption and deter illegal
music sharing. At the time of going to
press in May 2009, the National Assembly
was debating clauses of the ‘Creation
and Internet’ bill. The proposed law aims
to implement a system of graduated
response by the ISPs who will educate
5
4
3
5
and warn repeat infringers of copyright
infringement. As a last resort, ISPs
could suspend repeat infringers’ internet
accounts for between one and 12 months.
Internet piracy has hit the French market
hard. An estimated 18% of the French
internet population currently download
music on a monthly basis via p2p
services (Jupiter Research). Research
by Ipsos in 2008 found that 74% of the
French population aged 15+ perceive
ISP warnings coupled with a temporary
internet ban as a better alternative to
fines. An estimated 88% of illegal filesharers say they would stop their activity
after two warnings in order to avoid
temporary disconnection.
France is now also experimenting with new
‘music access’ models with partnerships
between labels and ISP/mobile operators
such as Neuf Cegetel, SFR and Orange.
36.2
17.5
58.1
11.6
Neuf Cegetel, the French ISP, has been
running a “music access” service since
2007, offering unlimited downloads from
150,000 tracks from Universal Music.
Consumers are offered two options,
Neuf Music Initial, which is available
for no extra cost and offers unlimited
downloads from one of nine music
genres, or Neuf Music Optimal which
costs an additional €4.99 and offers
unlimited downloads of all Universal
Music tracks.
Orange’s Musique Max offers unlimited
downloads to its internet and mobile
customers for an additional €12 per
month. The service offers more than
one million songs from major and
independent labels, which are also
available for permanent purchase
and can be transferred to five other
digital music players or compatible
mobile phones.
pl
ld
Co
ay
Amy Winehouse
39
7/5/09 15:35:13
40
IFPI Recording Industry In Numbers 2009 – France
2
05
7
Europe
France
Year
2008
1,049.6
713.7
-11.4%
2007
1,184.0
805.2
-15.5%
2006
1,401.4
952.9
-4.6%
2005
1,468.6
998.6
-1.7%
2004
1,493.6
1,015.6
-13.6%
Perf. Rights
Year
Physical
Digital
2008
803.8
160.3
85.5
2007
1,004.0
102.4
77.7
2006
1,241.9
83.4
76.1
2005
1,435.5
33.0
–
2004
1,473.6
20.0
–
included from 2005.
Year
Physical
Digital
2008
30%
44%
19%
7%
Year
CD
2007
23%
59%
17%
1%
2008
53.8
3.2
4.9
21.5
2.1
2006
38%
62%
–
–
2007
62.6
4.9
8.1
10.0
–
2005
43%
53%
4%
–
2006
75.7
5.7
18.7
5.9
–
2004
17%
82%
1%
–
2005
96.2
14.8
26.6
2.7
–
2004
106.4
9.0
27.3
–
–
Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online
single track sales only. (Source: Nielsen SoundScan International). Digital albums source: Media Control GfK International GMBH.
1
8%
Artist
Title
Company
Francis Cabrel
Des Roses & Des Orties
Columbia
2
Seal
Soul
Warner
3
Les Enfoirés
Les Secrets Des Enfoirés
Sony Music
4
Christophe Maé
Mon Paradis
Warner
5
Coldplay
Viva La Vida
Parlophone
6
AC/DC
Black Ice
Sony Music
7
Duffy
Rockferry
Universal
8
Renan Luce
Repenti
Universal
9
Johnny Hallyday
Best Of
Warner
10
Amy Winehouse
Back To Black
Island Records
24%
15%
5%
77%
10%
20%
19%
10% 12%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Subscriptions
n Online album
n Mastertones
n Ad-supported
n Other
40
7/5/09 15:35:17
41
IFPI Recording Industry In Numbers 2009 – Germany
3
46
8
Europe
Germany
Country Data
World Ranking
Edel
Indigo
Soulfood Music
SPV
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : Media Control
ZYX Music
4
5
2
4
Chart Links : www.musicline.de
Internet users
Broadband lines
Mobile subs
GVL
Link : www.gvl.de
55.2
23.4
101.2
17.4
While some European markets saw a double-digit sales decline, in Germany revenue from the sale of music products fell by a more
modest 4.2%. Physical sales remain the backbone of the German music industry, accounting for 87% of all sales. German music
companies have increased the number of physical formats available, introducing CDs with enhanced material including booklets
and attractive additional content, helping maintain sales in the physical sector. Of the 10 best selling albums of 2008, eight were
available in deluxe versions.
At the same time companies continued to work towards expanding the digital sector. Digital albums continued to grow at a faster
pace than single tracks, now accounting for 26% of digital sales. However, Germany’s digital share of the market remains well below
the global average, at only 8%. As much as 40% of the German population is now older than 50 years old. This demographic profile
also bodes well for physical music formats and may explain a slower take-up of digital services, despite the fact that digital purchasing
among 33-49 year olds grew in 2008. The share of 50+ consumers buying digital music remained stable at 8% in 2008. The strength
of physical retail and relatively low rates of credit card usage are also partly attributable for the slower shift towards digital consumption.
Year
2008
1,627.8
1,106.9
-4.2%
2007
1,698.4
1,154.9
-2.9%
2006
1,749.3
1,189.5
2.0%
2005
1,714.7
1,166.0
0.4%
2004
1,708.0
1,161.5
-3.2%
included from 2004.
Year
Perf. Rights
Year
Physical
Digital
1
Amazon
2008
1,416.0
123.4
88.3
2
Karstadt
2007
1,494.5
111.8
92.1
3
Media Markt
2006
1,578.4
81.8
89.1
4
Mueller
2005
1,668.6
46.1
–
5
Saturn
2004
1,690.4
17.6
–
Top Retailers
Source: GfK
Physical
Digital
2008
73%
11%
7%
9%
Year
CD
2007
70%
21%
5%
4%
2008
107.1
7.4
10.8
34.2
3.7
2006
58%
39%
3%
–
2007
113.3
9.1
15.3
34.5
2.8
2005
65%
35%
–
–
2006
114.4
10.3
21.6
26.0
2.0
2004
63%
36%
1%
–
2005
114.7
10.3
26.5
17.5
1.4
2004
116.1
9.5
36.5
–
–
Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to
online single track sales only (Source: Media Control GfK International GMBH).
Artist
Title
Company
1
Amy Winehouse
Back To Black
Universal Music
2
Ich + Ich
Vom Selben Stern
Universal Music
3
Paul Potts
One Chance
Sony Music
4
Die Ärzte
Jazz Ist Anders
Universal Music
5
Udo Lindenberg
Stark Wie Zwei
Warner Music
6
Coldplay
Viva La Vida
EMI Music
7
AC/DC
Black Ice
Sony Music
8
Amy MacDonald
This Is The Life
Universal Music
9
Metallica
Death Magnetic
Universal Music
10
Duffy
Rockferry
Universal Music
8%
5%
32%
87%
7%
35%
26%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Online album
n Subscriptions
n Other
Source: Media Control
41
7/5/09 15:35:22
42
IFPI Recording Industry In Numbers 2009 – Greece
2
05
7
Europe
Greece
Country Data
World Ranking
Aerakis
Alpha Records
Currency : Euro (Eur)
Etairia Ekdoseon (Lyra-MBI-Legend)
General Music
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : IFPI Greece/Deloitte
Heaven Music
Chart Links : www.ifpi.gr
Year
30
29
26
32
Internet users
Broadband lines
Mobile subs
2008
58.0
39.4
-23.4%
2007
75.7
51.5
-3.0%
2006
78.1
53.1
1.9%
2005
76.6
52.1
-6.4%
2004
81.9
55.7
-5.7%
3.8
1.7
15.4
0.5
Perf. Rights
Year
Physical
Digital
2008
46.9
5.6
5.5
2007
65.7
5.7
4.3
2006
70.9
4.6
2.6
2005
76.6
–
–
2004
81.9
–
–
Year
Physical
Digital
2008
14%
66%
9%
11%
Year
CD
2007
13%
80%
–
6%
2008
5.6
0.2
0.1
0.6
–
2006
7%
89%
–
4%
2007
7.6
0.3
0.2
0.3
–
2005
–
–
–
–
2006
6.9
0.3
0.2
0.2
–
2004
–
–
–
–
2005
7.0
0.3
0.4
0.1
–
2004
6.9
0.3
0.7
–
–
refer to online single track sales only (Source: Nielsen SoundScan International).
Artist
Title
Company
1
Michael Xatzhgiannhss
7
Universal
2
Elena Paparizou
Vrisko To Logo Na Zo
Sony Music
3
Ploutharhos Yannis
Oti Gennietai Stin Psixi (Special)
Minos - EMI
4
Michael Xatzhgiannhss
Zontana Sto Likavitto07/08
Universal/M2
5
OST
Mamma Mia!
Universal
6
Mazoo and the Zoo
Mazoo and the Zoo
Legend/EGE
7
John Parios
Poy Pame Meta
Minos - EMI
8
Pandelis Thalassinos
Apo Alla Peribolia
MBI/EGE
9
Ntalaras George/
Papadoupoulos Lefteris
Afieroma Ston Leftieri papadopoulo - Tha Pio
Apopse To Feggari - Zontani Ikhografisi
Legend/EGE
Anna Vissi
Apagorevmeno
Sony Music
10
9%
10%
26%
39%
81%
7%
8%
9% 11%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Ringback tones
n Mastertones
n Subscriptions
n Other
42
RIN 09 Greece - Hungary.indd 2
7/5/09 15:37:00
43
IFPI Recording Industry In Numbers 2009 – Hungary
3
46
8
Europe
Hungary
Country Data
World Ranking
CLS
Fekete Szemek
Currency : Forint (HUF)
Hammer Music
Hungaroton
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : MAHASZ
Record Express
35
42
20
36
Chart Links : www.mahasz.hu
Internet users
Broadband lines
Mobile subs
MAHASZ
Link : www.mahasz.hu
4.2
1.2
11.2
0.9
The Hungarian music market saw a steep decline in 2008, with sales falling by 24.2%. The physical market performance drove this
decline (-29.9%) while digital sales also fell. The worsening economic climate impacted heavily on the Christmas sales period, with
nearly all retail outlets suffering declining sales.
In the digital market, sales of mastertones fell significantly due to the wide availability of software that allows consumers to create
their own mastertones, sideloading and Bluetooth mobile sharing. The online market is still struggling to take off and subscription
services are still very much in their infancy.
Mobile internet services are on the rise in Hungary and stiff competition among service providers resulted in a steady decrease in access prices.
3G phones, iPods and many other music enabled devices are becoming more common. One key factor influencing consumers’ decision when
buying mobile phones is the handset’s ability to play music. However the majority of the music played on consumers’ mobiles is not paid for.
Internet piracy remains a big challenge for the Hungarian music industry. While online downloading is expanding rapidly, many
consumers order burned CDs online. Torrent sites and DC++ are the main channels for obtaining music illegally. Locally-based
FTP servers offering downloads for money (typically via highly priced SMS) from local and foreign web-hosting sites is an ongoing
problem. The FTP servers typically host content which is available for download through a “store front” website that provides
information to users on how to register and pay via SMS for access to the illegal content on the servers. A few successful raids in key
locations concerning major servers have had a significant, even if only short term, effect in decreasing the volume of illegal traffic.
Performance rights is the most promising sector for the Hungarian industry. Users of copyrighted sound recordings, such as jukebox
operators, shop owners and DJs, are increasingly aware of their obligation to pay for the music they use (via licensing). With the
publicity around performance rights affairs, the awareness has started to penetrate strongly and visibly into the general public.
Year
2008
33.2
5,731.0
-24.2%
2007
43.8
7,561.3
-5.0%
2006
46.1
7,959.6
19.4%
2005
38.6
6,666.0
-15.1%
2004
45.5
7,855.6
-4.4%
Perf. Rights
Year
Physical
Digital
2008
25.5
1.2
6.5
2007
36.4
1.2
6.2
2006
40.1
0.6
5.3
2005
38.6
–
–
2004
45.5
–
–
included from 2004.
Year
CD
Physical
Digital
2008
47%
40%
–
13%
Year
2007
22%
59%
–
19%
2008
2.9
0.4
90.4
–
–
2006
22%
74%
–
4%
2007
4.5
0.2
0.2
–
–
2005
–
–
–
–
2006
4.7
0.2
0.5
–
–
2004
–
–
–
–
2005
4.2
0.2
0.9
–
–
2004
5.4
0.2
2.0
–
–
20%
4%
76%
Recorded Music
Sales By Sector
n Physical
n Digital
Digital Sales By Format (Value)
28%
32%
8%
9%
13%
10%
n Mastertones
n Ad-supported
n Online album
n Online streams
n Other
43
RIN 09 Greece - Hungary.indd 3
7/5/09 15:37:05
44
IFPI Recording Industry In Numbers 2009 – Italy
2
05
7
Europe
Italy
Country Data
World Ranking
Edel
Sugar
Time
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : FIMI/AC Nielsen
8
14
8
8
Chart Links : www.fimi.it
Internet users
Broadband lines
Mobile subs
SCF
Link : www.scfitalia.it
33.7
12.2
87.4
11.1
Recorded music sales in Italy fell by 17.0% in 2008 – the biggest decline among the top five European music markets. Physical sales
fell by 21.4%, well above the global average. Digital sales rose by only 2.4%, against a 24.1% growth in digital sales at a global level.
Mobile sales saw a significant decline in 2008, now accounting for 35% of digital sales in Italy (compared to 53% in 2007). There was
progress in the online sector in 2008 and ad-supported models now account for 7% of digital revenues in Italy. Performance rights
grew by 25.7% in 2008, outpacing the global average.
Domestic repertoire accounted for 56% of CD sales, with international sales claiming 39% and classical 5%. In 1999, the peak year
for the Italian music market, 43% of music sales came from domestic repertoire, 52% from international and 5% from classical.
Illegal downloading continues to hamper the development of a legal online business in Italy. It is estimated that 99% of all files
downloaded in Italy are unauthorised. 18% of internet users download music illegally according to research.
Year
2008
326.1
221.7
-17.0%
2007
392.7
267.0
-16.9%
2006
472.4
321.2
-6.3%
2005
504.1
342.8
-0.3%
2004
505.8
343.9
-7.1%
Perf. Rights
Year
Physical
Digital
1
Feltrinelli
2008
268.5
28.9
28.6
2
FNAC
2007
341.7
28.2
22.8
3
Mediaworld
2006
422.7
27.9
21.8
4
Mondadori
2005
485.7
18.4
–
5
SGM (Marco Polo)
2004
501.4
4.3
–
Top Retailers
included from 2004.
Year
CD
Physical
Digital
2008
51%
35%
2%
12%
Year
2007
44%
53%
–
3%
2008
–
–
–
6.6
–
2006
30%
57%
1%
12%
2007
25.5
1.1
0.4
4.9
–
2005
30%
69%
1%
–
2006
28.8
1.7
0.7
2.9
–
2004
23%
77%
–
–
2005
31.6
1.8
1.0
1.1
–
2004
33.1
2.0
1.4
–
–
Note: Music video includes DVD, VHS and VCD. Other physical includes singles, vinyl, cassette and other. 2008 physical
volumes not available. Single tracks refer to online single track sales only (source: Nielsen SoundScan International).
9%
Artist
Title
Company
1
Jovanotti
Safari
Universal Music
2
Vasco Rossi
Il Mondo Che Vorrei
EMI
3
Laura Pausini
Primavera In Anticipo
WMI
4
Ligabue
Secondo Tempo
WMI
5
Guisy Ferreri
Non Ti Scordar Mai Di Me
Sony Music
6
Amy Winehouse
Back To Black
Universal Music
7
Madonna
Hard Candy
WMI
8
G Nannini
Gianna Best
Universal Music
9
Tiziano Ferro
Alla Mia Eta’
EMI
10
Ferreri Giusy
Gaetana
Sony Music
19%
9%
6%
82%
12%
25%
20%
18%
Recorded Music
Sales By Sector
n Physical
n Digital
n Online album
n Mastertones
n Online streams
n Other
44
RIN 09 Italy - Netherlands.indd 2
7/5/09 15:44:48
45
IFPI Recording Industry In Numbers 2009 – Netherlands
3
46
8
Europe
Netherlands
Country Data
World Ranking
Artist & Company
Challenge Record Services
CNR Records
Play It Again Sam
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : GfK Megacharts BV
Rough Trade
11
19
6
10
Chart Links : www.megacharts.nl
Internet users
Broadband lines
Mobile subs
NVPI/SENA
Link : www.nvpi.nl | www.sena.nl
15.0
5.8
18.4
2.9
Music sales in the Netherlands fell by 9.9% driven by a steep decline in physical sales (-14.8%). Digital sales continued to grow,
now accounting for 6% of the Dutch music market. Netherlands is the sixth biggest market for performance rights, which now
account for 18% of music sales.
Domestic repertoire performed well in 2008. Five out of the top 10 best selling albums were local acts. Overall entertainment
product sales (CDs, DVDs and games) rose 2.8% in 2008, with games leading this growth. Sales of DVDs fell by 5.2%.
Year
2008
271.9
184.9
-9.9%
2007
301.9
205.3
-1.9%
2006
307.7
209.3
6.2%
2005
289.8
197.0
-14.3%
2004
338.1
229.9
-9.3%
Perf. Rights
Year
Physical
Digital
1
BOL.com
2008
207.9
15.1
48.9
2
Free Record Shop
2007
243.9
12.4
45.5
3
Vanleest
2006
264.2
9.7
33.8
4
Media Markt
2005
283.9
5.8
–
5
Music Store
2004
336.8
1.3
–
Top Retailers
included from 2004.
Year
Physical
Digital
2008
83%
9%
3%
5%
Year
CD
2007
83%
15%
2%
–
2008
18.4
1.2
0.5
8.7
1.3
2006
80%
19%
1%
–
2007
18.8
3.0
1.1
2.9
–
2005
76%
18%
6%
–
2006
19.3
3.5
1.8
2.5
–
2004
61%
36%
3%
–
2005
20.4
4.6
2.2
1.3
–
2004
23.2
5.3
3.1
–
–
Note: Music video includes DVD, VHS and VCD. Other physical includes singles, vinyl, cassette and other. Single tracks refer to
online single track sales only (source: Nielsen SoundScan International). Digital album source: Media Control GfK International GMBH
5% 4%
Artist
Title
Company
1
Amy Winehouse
Back To Black
Universal
2
Amy Macdonald
This Is The Life
Universal
3
Marco Borsato
White Light
Universal
4
Coldplay
Viva La Vida
EMI
5
Nick & Simon
Today
Artist & Company
6
Jan Smit
Silence In The Storm
Artist & Company
7
Duffy
Rockferry
Universal
8
Alain Clark
Live It Out
8Ball
9
Anouk
Who’s Your Momma
EMI
10
Madonna
Hard Candy
Warner
18
7%
%
6%
10%
76%
Recorded Music
Sales By Sector
n Physical
n Digital
40%
34%
n Online album
n Online streams
n Mastertones
n Ad-supported
n Other
45
RIN 09 Italy - Netherlands.indd 3
7/5/09 15:44:52
46
IFPI Recording Industry In Numbers 2009 – Norway
2
05
7
Europe
Norway
Country Data
World Ranking
Bonnier Amigo Music Norway
Playground Music
Currency : Norwegian Krone (NOK)
Tuba Records
Tylden (Bare Bra Musikk)
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : Ns Newspaper/IFPI Norway
Voices Music & Entertainment
Chart Links : www.ifpi.no
Internet users
Broadband lines
Mobile subs
Gramo
Link : www.gramo.no
Year
2008
124.0
700.7
-11.6%
2007
140.3
792.7
-2.3%
2006
143.6
811.6
-5.3%
2005
151.8
857.5
-11.7%
2004
171.9
971.2
1.9%
19
22
18
21
4.1
1.4
5.2
1.0
Perf. Rights
Year
Physical
Digital
2008
103.1
10.8
10.2
2007
122.6
8.1
9.6
2006
131.2
5.0
7.5
2005
149.7
2.0
–
2004
171.9
–
–
included from 2005.
Year
Physical
Digital
2008
75%
23%
1%
1%
Year
CD
2007
63%
37%
–
–
2008
8.2
0.3
0.1
4.9
–
2006
54%
46%
–
–
2007
9.2
0.4
0.3
3.4
–
2005
61%
39%
–
–
2006
9.7
0.4
0.4
1.3
–
2004
–
–
–
–
2005
11.0
0.3
0.6
0.5
–
2004
12.4
0.3
1.0
–
–
refer to online single track sales only (source: Nielsen SoundScan International)
9%
7%
8%
10%
35%
11%
83%
37%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Online album
n Mastertones
n Other
46
RIN 09 Norway - Poland.indd 2
7/5/09 15:49:53
47
IFPI Recording Industry In Numbers 2009 – Poland
3
46
8
Europe
Poland
Country Data
World Ranking
Agora
Fonografika
Currency : Zloty (PLN)
Metal Mind Production
Reader’s Digest
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : ZPAV/Pentor Research Institute
Sonic
Chart Links : www.zpav.pl
Internet users
Broadband lines
Mobile subs
ZPAV
Link : www.zpav.pl
Year
20
32
27
23
2008
112.2
270.3
10.1%
2007
101.9
245.6
16.4%
2006
87.6
211.0
1.9%
2005
85.9
207.0
-7.5%
2004
92.9
223.9
-4.8%
16.0
4.2
44.0
–
Perf. Rights
Year
Physical
Digital
1
Empik
2008
102.9
4.4
4.8
2
Media Markt
2007
95.5
2.7
3.7
3
Carrefour Polska
2006
85.1
0.4
2.0
4
Auchan Polska
2005
85.9
–
–
5
Kolporter
2004
92.9
–
–
Top Retailers
Year
Physical
Digital
2008
9%
65%
–
26%
Year
CD
2007
3%
96%
1%
–
2008
9.9
0.8
0.4
–
–
2006
14%
85%
1%
–
2007
9.8
0.5
0.1
–
–
2005
–
–
–
–
2006
7.9
0.6
0.3
–
–
2004
–
–
–
–
2005
9.0
0.4
0.4
–
–
2004
10.5
0.6
1.3
–
–
Note: Music video includes DVD, VHS and VCD. Other physical includes singles, vinyl, cassette and other.
4% 4
%
Artist
Title
Company
1
Feel
Feel
Gorgo/Pomaton
2
Rózni Wykonawcy
Kids...The Best Ever!
Pomaton
3
Soundtrack
Mamma Mia!
Polydor UK
4
Rózni Wykonawcy
Love...The Best Ever!
Pomaton
5
Rózni Wykonawcy
The Best Christmas...Ever!
Pomaton
6
Rózni Wykonawcy
...The Best Movie Ever!
Pomaton
7
Metallica
Death Magnetic
Mercury UK
Magic Records
EMI
8
Various
9
Various
Radio Zet Power Of Music
Summer 2008
RMF FM Best In Polish Music Vol.2
10
David Gilmour
Live In Gdansk
Izabelin
15%
13%
92%
22%
26%
24%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Ad-supported
n Ringback tones
n Mastertones
n Other
47
RIN 09 Norway - Poland.indd 3
7/5/09 15:49:58
48
IFPI Recording Industry In Numbers 2009 – Portugal
2
05
7
Europe
Portugal
Country Data
World Ranking
Espacial
Farol Musica
iPlay
Vidisco
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : AFP/AC Nielsen
Audiogest AFP
Year
25
33
32
27
Internet users
Broadband lines
Mobile subs
2008
68.8
46.8
-11.3%
2007
77.6
52.8
-13.4%
2006
89.6
60.9
-6.0%
2005
95.4
64.9
-8.9%
2004
104.7
71.2
-25.6%
7.8
1.6
14.3
0.8
Perf. Rights
Year
Physical
Digital
1
FNAC
2008
61.8
4.4
2.6
2
Sonae
2007
71.2
3.8
2.6
3
Auchan
2006
83.6
3.7
2.4
4
El Corte Inglés
2005
95.4
–
–
5
Media Markt
2004
104.7
–
–
Top Retailers
Year
Physical
Digital
2008
34%
56%
9%
1%
Year
CD
2007
24%
75%
1%
–
2008
4.3
0.8
0.2
0.8
–
2006
15%
85%
–
–
2007
4.7
0.8
0.2
0.4
–
2005
–
–
–
–
2006
6.0
1.0
0.3
0.2
–
2004
–
–
–
–
2005
7.0
0.8
0.7
0.1
–
2004
9.1
0.8
2.9
–
–
refer to online single track sales only (source: Nielsen SoundScan International).
1
6%
Artist
Title
Company
Tony Carreira
O Homem Que Sou
Farol Musica
2
Just Girls
Just Girls
Farol Musica
3
Banda Sonora Original
Mamma Mia
EMI
4
Mariza
Terra
EMI
5
Amy Winehouse
Back To Black
Universal
6
Kizomba Brasil
Kizomba Brasil
Farol Musica
7
Mariza
Concerto Em Lisboa
EMI
8
Coldplay
Viva La Vida
EMI
9
Varios Artistas
Morangos Com Acucar Vol. 10
Farol Musica
10
Abba
Abba Gold
Universal
4%
17%
6%
7%
90%
9%
24%
13%
12% 12%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Mastertones
n Online album
n Online streams
n Ringback tones
n Mobile streams
n Other
48
RIN 09 Portugal - Russia.indd 2
7/5/09 15:56:11
49
IFPI Recording Industry In Numbers 2009 – Russia
3
46
8
Europe
Russia
Country Data
World Ranking
Physical sales
Digital sales
Performance rights
Total market
Currency : Rouble (RUB)
RPA
10
25
29
12
Internet users
Broadband lines
Mobile subs
Link : www.rpa-society.com
32.7
7.3
163.7
4.9
The Russian recorded music market saw a modest decline in 2008 of 2.4%. Physical sales fell by 5.8% while digital revenues more
than doubled. The performance rights sector is still in its infancy. In Eastern Europe, Russia acquired the most broadband subscribers
in 2008. However, the digital market in Russia is still dominated by mobile sales. Ringback tones account for over half of all revenues,
followed by mastertones and monophonic/polyphonic ringtones. 2008 saw some progress in the development of the online music
sector. Online stores are at the initial stages, attracting and accumulating customers. Ad-supported streaming services
and subscription services are generating more interest.
In the physical retail sector, there has been fast development in Moscow and St. Petersburg. CD sales are being driven by
improved physical retail, but film DVDs are becoming more important at the expense of music. The high rate of piracy, the
reduction in consumer spending following the economic slowdown and the devaluation of the local currency all have contributed
to a decline in music sales in 2008.
In terms of repertoire, sales are split 72% domestic, 25% international and 3% classical (units). Russia’s domestic music industry
is mainly driven by live performance. Most commercial music is electronic or dance-based. Rock bands are in ascendance as are
acts that have had TV appearances (several Pop Idol-like shows are broadcast across the country).
Year
2008
220.8
5,492.2
-2.4%
2007
226.2
5,626.5
-1.6%
2006
229.9
5,718.6
4.4%
2005
220.2
5,477.4
-37.5%
2004
352.3
8,762.8
44.3%
Perf. Rights
Year
Physical
Digital
2008
209.2
7.6
4.0
2007
222.1
3.5
0.7
2006
228.8
0.8
0.3
2005
220.2
–
–
2004
352.3
–
–
Note: 2008 performance rights figures refer to monies collected in 2007
and distributed in 2008.
Year
Physical
Digital
2008
20%
80%
–
–
Year
CD
2007
–
100%
–
–
2008
70.1
–
4.1
–
2006
–
100%
–
–
2007
75.0
–
8.2
–
–
2005
–
–
–
–
2006
72.1
–
12.9
–
–
2004
–
–
–
–
2005
68.5
0.4
27.7
–
–
2004
58.0
0.3
60.7
–
–
–
2%
3%
95%
Recorded Music
Sales By Sector
n Physical
n Digital
40%
5%
55%
Digital Sales
By Format (Value)
n Ringback tones
n Mastertones
n Other
49
RIN 09 Portugal - Russia.indd 3
7/5/09 15:56:15
50
IFPI Recording Industry In Numbers 2009 – Slovakia
2
05
7
Europe
Slovakia
Country Data
World Ranking
Physical sales
Digital sales
Performance rights
Total market
Currency : Slovak Koruna (SKK)
45
–
31
45
Internet users
Broadband lines
Mobile subs
Year
Perf. Rights
Year
Physical
Digital
2008
9.8
207.4
-0.8%
2007
9.9
209.0
-2.4%
2006
10.1
214.2
-0.9%
2005
10.2
216.0
–
2004
–
–
–
2.7
–
5.5
–
2008
6.6
–
3.2
2007
7.3
–
2.6
2006
8.4
–
1.7
2005
10.2
–
–
2004
–
–
–
Physical
Digital
Year
CD
2008
1.7
0.1
–
–
–
2007
1.1
–
–
–
–
2006
1.0
0.1
–
–
–
2005
1.2
–
–
–
–
2004
–
–
–
–
–
Note: Music video refer to DVD.
33%
67%
Recorded Music
Sales By Sector
n Physical
n Digital
50
RIN 09 Slovakia - Spain - Sweden.indd 2
7/5/09 15:59:06
51
IFPI Recording Industry In Numbers 2009 – Spain
3
46
8
Europe
Spain
Country Data
World Ranking
Avispa
Blanco Y Negro
Discmedi
Divucsa
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : GfK/Nielsen Music Control
Harmonia Mundi Iberica
Chart Links : www.promusicae.es
Link : www.agedi.es
Spanish music sales fell by 7.8% in 2008,
lead by a sharp drop in physical sales
(-12.4%). Digital sales grew modestly in
2008 by 7.5%, and accounted for 10% of
overall music sales in Spain. Performance
rights on the other hand saw a 19.2%
increase on 2007. The Spanish market
peaked in 2001 and music sales have
since fallen by 56%.
Spain’s piracy rate is among the highest
in Western Europe. 22% of the Spanish
population aged 16+ download music
illegally. This translates to 62% of internet
users (GfK Group). Among consumers
under 24 years old, 81% of internet users
download content from P2P sites. 44%
Internet users
Broadband lines
Mobile subs
AGEDI
of illegal downloaders are from a middleclass background and a further 29% from
upper middle-class.
Physical piracy remains a problem in
Spain. 10% of the population aged 16+
buy pirated discs. Over a third of pirate CD
buyers are from a low income background,
most are not digitally engaged and 14%
don’t have Spanish nationality (GfK Group).
As a result of the country’s soaring piracy
rates, very few new local artists achieve
commercial hits. In 2008 there were only
three local artists in the top 50 albums
(Ainhoa Arteta, Amaia Montero and
Pitingo). Five years ago 10 new local artists
9
11
7
9
25.6
8.9
52.5
–
featured in the top 50 chart. The economic
environment as well as conservative media
coverage that focuses on established acts
has led many record companies to cut
down in new local artist signings.
In an effort to stimulate the digital market,
Vodafone has launched a music access
service, offering an unlimited download
service to its data plan customers without
additional cost. The service is powered by
RealNetworks and offers users the ability
to purchase downloads in DRM-free
format. Movistar, another subscription
service launched in 2007, offers access
to over one million songs for a monthly
fee of €6.
El Canto Del Loco
51
7/5/09 15:59:11
52
IFPI Recording Industry In Numbers 2009 – Spain
2
05
7
Europe
Spain
Year
2008
302.4
205.6
-7.8%
2007
328.1
223.1
-19.9%
2006
409.6
278.5
-5.6%
2005
434.0
295.1
-5.1%
2004
457.2
310.9
-12.1%
Perf. Rights
Year
Physical
Digital
2008
237.4
29.1
36.0
2007
270.9
27.0
30.2
2006
364.6
20.0
25.0
2005
429.1
4.9
–
2004
454.8
2.4
–
included from 2004.
Year
Physical
Digital
2008
29%
62%
4%
5%
Year
CD
2007
17%
72%
–
11%
2008
19.8
1.4
0.2
7.3
–
2006
17%
80%
–
3%
2007
21.1
2.0
0.7
7.2
–
2005
24%
76%
–
–
2006
25.9
2.5
1.2
1.8
–
2004
7%
93%
–
–
2005
31.1
3.4
1.8
0.3
–
2004
34.0
3.6
1.7
–
–
refer to online single track sales only. (Source: Nielsen SoundScan International).
1
Artist
Title
Company
El Canto Del Loco
Personas
Sony Music
2
Miguel Bose
Papito
Warner DRO
3
Amy Winehouse
Back To Black
Universal
4
Serrat & Sabina
Dos Pajaros De Un Tiro
Sony Music
5
Manolo Garcia
Saldremos A La Lluvia
Sony Music
6
Estopa
Allenrok
Sony Music
7
Amaral
Gato Negro Dragon Rojo
EMI Music
8
Rosario
Parte De Mi
Universal/Vale Music
9
Amaia Montero
Amaia Montero
Sony Music
10
Fito Y Los Fitipaldis
Por La Boca Vive El Pez
Warner DRO
12%
19%
10%
5%
31%
6%
78%
7%
14%
18%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Mastertones
n Mobile single tracks
n Online single tracks
n Online album
n Ringback tone
n Mobile music video
n Other
52
7/5/09 15:59:14
RECORDING INDUSTRY IN NUMBERS
IFPI
2009Recording Industry In Numbers 2009 – Sweden
53
3
46
8
Europe
Sweden
Country Data
World Ranking
Bonnier Amigo Music Group
Family Tree Music
Currency : Swedish Krona (SEK)
Playground Music Scandinavia
Roxy Recordings
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : GLF/IFPI Sweden
Sound Pollution Recordings
Chart Links : www.sveringetopplistan.se
Internet users
Broadband lines
Mobile subs
IFPI Sweden
Link : www.ifpi.se
Year
2008
143.2
944.0
-6.9%
2007
153.9
1,014.4
-9.3%
2006
169.8
1,118.9
-1.1%
2005
168.0
1,106.9
-9.0%
2004
184.7
1,216.9
-17.4%
7.0
2.9
10.2
2.1
Perf. Rights
Year
Physical
Digital
1
CD On
2008
119.9
10.8
12.5
2
Ginza
2007
130.5
10.2
13.2
3
Åhléns
2006
148.3
9.1
12.4
4
Statoil
2005
164.4
3.5
–
5
Maxi/ICA
2004
184.4
0.2
–
6
Coop
7
Media Markt
8
Skivlagret
9
Bengans
10
Rocks
included from 2004.
Year
17
21
16
17
Top Retailers
Physical
Digital
2008
59%
23%
16%
2%
Year
CD
2007
58%
33%
8%
1%
2008
11.6
0.4
1.0
3.5
–
2006
42%
47%
8%
3%
2007
13.0
0.6
1.0
3.0
–
2005
48%
47%
5%
–
2006
15.2
0.6
1.0
1.8
–
2004
16%
78%
6%
2%
2005
15.4
0.6
1.4
0.5
–
2004
16.6
0.9
1.6
–
–
refer to online single track sales only (Source: Nielsen SoundScan International).
Artist
Title
Company
1
Duffy
Rockferry
Polydor
2
Eros Ramazzotti
E2
Ariola
3
Metallica
Death Magnetic
Mercury
4
AC/DC
Black Ice
Columbia
Syco
5
Il Divo
The Promise
6
Sanna, Shirley, Sonja
Our Christmas
Lionheart Records
7
Coldplay
Viva La Vida
Parlophone
8
Takida
Bury The Lies
Ninetone
9
Amanda Jenssen
Killing My Darlings
Epic
10
Hâkan Hellström
För Sent För Edelweiss
Dolores
8%
9%
16%
6%
29%
8%
83%
16%
25%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Online album
n Subscriptions
n Mastertones
n Other
53
7/5/09 15:59:19
54
IFPI Recording Industry In Numbers 2009 – Switzerland
2
05
7
Europe
Switzerland
Country Data
World Ranking
K-Tel International AG
Musikvertrieb AG
Currency : Swiss Franc (CHF)
Phonag Records AG
TBA AG
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : Media Control AG
Tudor Recording AG
Chart Links : w
ww.hitparade.ch | www.media control.de
Internet users
Broadband lines
Mobile subs
SUISA
Link : www.suisa.ch/en/
Year
13
20
22
13
2008
192.5
207.9
-5.4%
2007
203.5
219.7
-3.9%
2006
211.8
228.7
-11.1%
2005
238.4
257.4
-3.5%
2004
246.9
266.7
-7.2%
5.8
2.6
7.9
1.5
Perf. Rights
Year
Physical
Digital
1
FNAC
2008
172.9
13.2
6.3
2
Manor
2007
186.2
11.8
5.5
3
Media Markt
2006
204.0
7.0
0.9
4
Ex Libris
2005
234.9
3.5
–
5
City Disc
2004
246.9
–
–
Top Retailers
included from 2005.
Year
Physical
Digital
2008
80%
12%
6%
2%
Year
CD
2007
76%
23%
1%
–
2008
11.4
0.3
0.3
6.0
0.7
2006
79%
21%
–
–
2007
11.6
0.3
1.0
5.6
0.6
2005
77%
21%
2%
–
2006
12.7
0.4
1.4
1.9
0.2
2004
–
–
–
–
2005
15.1
0.4
2.3
–
–
2004
18.2
0.7
2.6
–
–
refer to online single track sales only (source: Media Control GfK International GMBH).
3%
7%
6%
6%
90%
11%
39%
38%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Online album
n Mastertones
n Subscriptions
n Other
54
RIN 09 Switz - Turkey.indd 2
7/5/09 16:02:39
55
IFPI Recording Industry In Numbers 2009 – Turkey
3
46
8
Europe
Turkey
Country Data
World Ranking
Avrupa Müzik Yapim
Dogan Müzik Yapim
Currency : Turkish Lira (TRY)
Emre Grafson Müzik Sanat
Kalan Müzik Yapim
Physical sales
Digital sales
Performance rights
Total market
Seyhan Müzik Prodüksiyon
MU-YAP
Internet users
Broadband lines
Mobile subs
Link : www.mu-yap.org
Year
2008
80.9
106.0
-9.8%
2007
89.7
117.5
-8.9%
2006
98.5
129.0
-8.6%
2005
107.7
141.1
-7.5%
2004
116.5
152.6
17.7%
24
44
21
26
26.5
5.8
62.3
–
Perf. Rights
Year
Physical
Digital
2008
73.7
3.6
3.6
2007
84.8
2.1
2.8
2006
96.2
0.5
1.8
2005
107.7
–
–
2004
116.5
–
–
Note: Performance rights and digital revenues included from 2006.
Note: Digital and performance rights values provided by MU-YAP.
Year
Physical
Digital
2008
35%
65%
–
–
Year
CD
2007
10%
90%
–
–
2008
10.7
–
1.8
–
–
2006
12%
88%
–
–
2007
13.3
–
4.3
–
–
2005
–
–
–
–
2006
13.5
–
9.4
–
–
2004
–
–
–
–
2005
12.5
–
14.7
–
–
2004
14.6
–
28.9
–
–
Note: Splits provided by MU-YAP to reflect sales by sector including
independent label sales.
3%
Note: Other physical includes singles, vinyl, cassette and other.
6%
35%
91%
17%
28%
20%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Ringback tone
n Mastertones
n Internet
55
RIN 09 Switz - Turkey.indd 3
7/5/09 16:02:43
56
IFPI Recording Industry In Numbers 2009 – United Kingdom
2
05
7
Europe
United Kingdom
Country Data
World Ranking
All Around The World
B Unique
Currency : British Pound (GBP)
Crimson
Decadence
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : OCC/Millward Brown
Domino
Chart Links : www.theofficialcharts.com
Ministry Of Sound
PPL
Red Box
Link : www.ppluk.com
Sanctuary
Rolled Gold
3
3
1
3
Internet users
Broadband lines
Mobile subs
41.8
17.4
74.3
19.0
V2 Music
XL Recordings
Source: OCC
Despite a turbulent year, the UK music
industry managed to post a loss in sales
of less than 5%, thanks to strong growth
in digital sales and a strengthening
performance rights sector. In the final
quarter of 2008, the UK industry faced
closures of retail outlets Woolworths and
Zavvi, as well as the distributors EUK and
Pinnacle going into administration due to
the current recession.
The UK digital market saw an increase
of 58.3% in 2008 in trade value. 109.8
million single tracks were downloaded in
2008, up 42% on 2007. Digital album sales
also rose sharply, up 65% (OCC). The UK
hosted the launch of the first Nokia Comes
With Music service late in 2008 as well
as AmazonMP3’s entry in the European
market. Growth in online sales came
primarily from consumers aged over 45
(Entertainment Media Research).
British artists continued to drive local
sales, accounting for 49% of artist album
sales. The popularity of the TV show X
Factor is clearly reflected in the 2008
singles chart. Winner Alexandra Burke’s
cover of Leonard Cohen’s Hallelujah was
the biggest selling single of the year, with
sales of nearly 900,000 copies.
This was followed by the show’s
finalists’ version of Mariah Carey’s Hero.
These two titles were also the biggest
selling physical singles of the year with
cumulative sales of nearly a million.
In the albums market Duffy’s debut
Rockferry topped the annual chart with
1.7m copies sold. There were several other
UK artists among the best sellers, including
Take That, Leona Lewis and Coldplay. All
three editions of the Now compilation series
made the top 10, as did the Mamma Mia!
soundtrack which underpinned an improved
year for compilation sales which fell by only
1.4% in 2008.
Digital music piracy remains a big threat
to the UK music industry and until robust,
practical measures are put in place to restrict
access to unlicensed music online, legitimate
services seeking to establish themselves
in the marketplace will suffer unfairly. It is
hoped that the ‘Digital Britain’ process will
lead to either a self-regulating agreement
between rights holders and the telecoms
sector or legislation to ensure the protection
of copyright online. In the UK market alone,
the music industry lost £180 million in 2008,
and will lose more than £1 billion by 2012 if
nothing is done (Jupiter Research, 2007).
Harris Interactive estimates that five
services account for around 70% of
P2P usage in the UK. The Pirate Bay,
uTorrent and Mininova were chosen by
a large proportion of heavy file-sharers
(those illegally downloading 20+ songs
per month). Among female P2P users
Limewire was the most popular service.
There has been a clear move towards
in-home leisure spending in the UK with
that sector growing by 4.4% in 2008
(Sheffield Hallam University), but games
and DVD sales fared better compared
to music. Game software sales grew by
21% in value, led by the popularity of the
Nintendo Wii (GfK Chart-Track/ELSPA).
Games also have a higher number of
retailers in the UK compared to music or
film. While the number of music retailers
fell by 7.7% between 2005 and 2008
(Millward Brown/OCC), the number of
games retailers grew by 1.2% (GfK ChartTrack). The DVD market was up 0.1% in
2008 (OCC/BVA). Illegal downloading has
started to impact the film industry and
that sector also saw a reduction in retail
space in 2008.
Leona Lewis
Ri
a
nn
ha
56
RIN 09 UK.indd 2
7/5/09 16:06:16
57
IFPI Recording Industry In Numbers 2009 – United Kingdom
3
46
8
Year
2008
1,845.4
1,015.0
-2.5%
2007
1,892.8
1,041.0
-12.6%
2006
2,164.6
1,190.5
-1.7%
2005
2,201.0
1,210.6
-2.9%
2004
2,267.0
1,246.9
-0.4%
Perf. Rights
Year
Physical
Digital
1
HMV
2008
1,458.8
252.2
134.4
2
Tesco
2007
1,614.6
159.4
118.8
3
Zavvi
2006
1,931.5
120.2
112.9
4
Woolworths
2005
2,131.8
69.2
–
5
Asda
2004
2,248.8
18.2
–
6
Amazon
7
iTunes
Top Retailers
included from 2004.
Year
Physical
Other
2008
78%
13%
7%
2%
Year
CD
2007
72%
23%
3%
2%
2008
131.2
4.5
7.0
109.8
10.3
2006
64%
34%
2%
–
2007
139.0
5.2
11.8
77.5
6.2
2005
58%
38%
4%
–
2006
164.4
7.3
19.8
52.5
2.2
2004
58%
32%
10%
–
2005
172.6
8.3
27.9
26.4
–
2004
174.6
7.7
32.6
5.8
–
refer to online single track sales only. (Source: OCC/BPI).
Album Sales By Genre 2008 (Units)
Artist
Title
Company
Rock
36%
1
Duffy
Rockferry
A&M
Pop
25%
2
Take That
The Circus
Polydor
R&B
11%
3
Kings Of Leon
Only By The Night
Hand Me Down
Dance
8%
4
Leona Lewis
Spirit
Syco Music
MOR/Easy Listening
7%
5
Coldplay
Viva La Vida
Parlophone
Classical
4%
6
OST
Polydor
Hip Hop/Rap
2%
7
Various Artists
Mamma Mia!
Now Thats What I Call Music! 71
EMI TV/UMTV
Country
2%
8
Various Artists
EMI TV/UMTV
Jazz
2%
9
Various Artists
EMI TV/UMTV
Folk
1%
10
Rihanna
Good Girl Gone Bad
Mercury
Other
3%
Source: BPI
Source: OCC/BPI
Music Sales By Chart Position
Chart Position % Change 2007-2008
7%
Recorded Music
Sales By Sector
14%
79%
n Physical
n Digital
5%
1-10
+10.2%
Digital Sales
By Format (Value)
11-20
+4.0%
21-30
-5.6%
n Online album
n Subscriptions
n Mastertones
n Other
31-40
-10.9%
41-50
-9.6%
51-100
-9.6%
Top 100
-2.5%
9%
6%
40%
7%
33%
Source: BPI
57
RIN 09 UK.indd 3
7/5/09 16:06:21
58
IFPI Recording Industry In Numbers 2009 – China
2
05
7
Asia
China
Country Data
World Ranking
Population (millions) : 1,330
HY Brothers
Modern Sky
Currency : Renminbi (RMB) | Yuan (CNY)
Taihe Rye Music Co. Ltd.
Physical sales
Digital sales
Performance rights
Total market
CAVCA (for Karaoke Videos)
Internet users
Broadband lines
Mobile subs
Link : www.cavca.org
Music sales in China grew by 8.0% in
2008 aided by strong digital growth.
China has one of the highest digital
shares in the world, with 62% of music
sales coming from digital platforms.
Digital piracy continued to underscore
the potential of the digital music sector
in China, with an estimated piracy level
of 90%.
The Chinese digital market is dominated
by mobile sales, which accounted for
over 80% of digital revenues. Ringback
tones are by far the most important
music format, although single track
downloads to mobile are on the rise.
Music companies currently receive 5%
or less from sales of mobile music in
China, highlighting a big gap between
content owners’ and mobile operators’
remunerations. China Mobile’s valueadded service market reached US$ 18
billion in 2008 (iResearch). The expected
introduction of 3G services in China
should further expand the Chinese mobile
music market.
34
9
–
25
China has the highest number of internet
users in the world. As much as 80% of all
internet users in China are under the age
of 35 years old and nearly 80% of internet
users have broadband access. Research
by CNNIC showed that 87% of Chinese
internet users have listened to online
music in the past six months, with 71%
having downloaded music in the past
six months.
Despite this, the legitimate online sector
has failed to take off in China due to high
piracy levels. The biggest infringers are
the country’s largest internet companies,
Baidu, Sohu-Sogu and Yahoo China,
which provide specialized ‘deep link’
services giving users direct access to
millions of copyright-infringing music
files. Critical for the long-term success
of the mobile music business in China
is the ability to control piracy in this
environment. The fact that credit card
use is limited in China has also held
back the online market, favouring mobile
operators’ billing systems.
298.0
83.4
627.3
–
In early 2009 major music labels
partnered with Google China and
Top100.cn to offer a new legitimate
music service to Chinese consumers.
Through the service Google Music
Search music labels can offer their
catalogue legitimately to consumers
on an ad-supported basis.
The majority of music sales in China
come from international and regional
repertoire. Chinese music buyers’
tastes lie in Mandarin recordings
produced in or outside China.
Hong Kong and Taiwan are the
main exporters of Mandarin repertoire
into China. Many Chinese artists
record and sign their contracts in
those territories – where the recording
infrastructure is more developed.
In addition, many Cantonese acts from
Hong Kong record Mandarin versions
of their releases for exploitation in China
and Taiwan. Market barriers faced by nonChinese record companies also hampers
the development of Chinese artists.
58
RIN 09 China.indd 2
7/5/09 15:24:53
59
IFPI Recording Industry In Numbers 2009 – China
3
46
8
Year
2008
82.0
570.5
8.0%
2007
75.9
528.2
-10.4%
2006
84.7
589.8
24.5%
2005
68.0
473.6
-35.0%
2004
104.8
729.1
–
Perf. Rights
Year
Physical
Digital
2008
31.5
50.4
–
2007
41.2
34.7
–
2006
54.0
30.7
–
2005
68.0
–
–
2004
104.8
–
–
Note: Digital sales included from 2006. 2004-2003 sales are not comparable.
Year
CD
Physical
Digital
2008
16%
82%
–
2%
Year
2007
19%
78%
3%
–
2008
7.7
2.1
–
–
–
2006
5%
74%
8%
13%
2007
13.1
1.5
–
–
–
2005
–
–
–
–
2006
16.6
6.9
2.6
–
–
2004
–
–
–
–
2005
19.7
10.1
9.9
–
–
2004
33.1
10.3
19.0
–
–
5%
6%
8%
38%
62%
9%
61%
11%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Ringback tones
n Mastertones
n Online streams
n Other
59
RIN 09 China.indd 3
7/5/09 15:24:56
60
IFPI Recording Industry In Numbers 2009 – Hong Kong
2
05
7
Asia
Hong Kong
Country Data
Avex Asia Ltd.
BMA Records Ltd.
Currency : Hong Kong Dollar (HKD)
East Asia Music (Holdings) Ltd.
Emperor Entertainment (Hong Kong) Ltd.
PP(SEA)L and HKRIA
Forward Music Co. Ltd.
Link : www.ppseal.com | www.hkria.com
HNH International Ltd. (Naxos)
World Ranking
Physical sales
Digital sales
Performance rights
Total market
32
26
23
33
Internet users
Broadband lines
Mobile subs
Gold Typhoon Entertainment Ltd.
Neway Star Ltd.
4.9
2.3
11.5
–
Worldstar Music International Ltd.
WOW Music Ltd.
Year
2008
55.8
434.4
-11.0%
2007
62.7
488.1
-5.7%
2006
66.4
517.3
0.5%
2005
66.1
514.8
-1.5%
2004
67.1
522.7
-12.6%
Perf. Rights
Year
Physical
Digital
2008
42.4
7.2
6.2
2007
49.8
6.5
6.3
2006
56.5
4.6
5.4
2005
66.1
–
–
2004
67.1
–
–
Top Retailers
1
CD Warehouse
2
HMV
Note: Performance rights revenues include PP(SEA)L figures only.
Year
Physical
Digital
2008
6%
49%
41%
4%
Year
CD
2007
2%
50%
48%
–
2008
3.4
0.6
0.1
–
–
2006
5%
72%
23%
–
2007
4.4
0.5
0.1
–
–
2005
–
–
–
–
2006
4.7
0.7
0.1
–
–
2004
–
–
–
–
2005
5.8
0.9
0.1
–
–
2004
6.1
0.6
–
–
–
Note: Performance rights revenues include PP(SEA)L figures only.
11%
22%
13%
41%
76%
17%
20%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Subscriptions
n Ringback tones
n Mobile music video
n Other
60
RIN 09 Hong Kong – India.indd 2
7/5/09 15:39:33
61
IFPI Recording Industry In Numbers 2009 – India
3
46
8
Asia
India
Country Data
World Ranking
Population (millions) : 1,148.0
Aditya Music (India)
Saregama India
Currency : Indian Rupee (INR)
Super Cassettes Industries
Times Music
Physical sales
Digital sales
Performance rights
Total market
PPL
Tips Industries Ltd.
22
12
10
19
Venus Records & Tapes Ltd
Internet users
Broadband lines
Mobile subs
Link : www.pplindia.org
81.0
5.4
346.9
–
Music sales in India were up 6.3%, with growth in digital and performance rights revenues offsetting the decline in
physical sales. Hindi film soundtracks remain the biggest genre in India, making up 40% of total music sales (PWC).
The Indian music industry peaked in 2001 when recorded music revenues totalled US$ 176.4 million. Since then music
sales have dropped by 20%. The Indian music industry is plagued by physical and digital piracy, facing declining prices
for entertainment products, struggling to keep pace with rapidly changing music consumption and technology, facing
competition from the mushrooming of radio channels, and with movie content taking precedence over all else. A study by
Ernst & Young India revealed that as many as 800,000 direct jobs and US$ 4 billion are lost by the entertainment industry
as a result of theft and piracy.
Year
2008
140.4
6,151.9
6.3%
2007
132.1
5,787.6
12.4%
2006
117.5
5,147.8
4.6%
2005
112.3
4,922.1
-0.3%
2004
112.7
4,939.1
2.7%
Perf. Rights
Year
Physical
Digital
2008
89.6
29.0
21.8
2007
97.4
21.8
12.8
2006
107.3
10.2
12.4
2005
112.3
–
–
2004
112.7
–
–
included from 2006.
Year
Physical
Digital
2008
–
98%
–
2%
Year
CD
2007
–
100%
–
–
2008
36.0
0.2
38.5
–
–
2006
–
100%
–
–
2007
37.2
0.1
46.8
–
–
2005
–
–
–
–
2006
42.5
–
56.4
–
–
2004
–
–
–
–
2005
36.3
–
67.3
–
–
2004
26.2
–
104.0
–
–
7%
16%
21%
14%
63%
17%
62%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Ringback tones
n Mastertones
n Other
61
RIN 09 Hong Kong – India.indd 3
7/5/09 15:39:37
62
IFPI Recording Industry In Numbers 2009 – Indonesia
2
05
7
Asia
Indonesia
Country Data
World Ranking
Aquarius Musikindo
Musica Studios
Currency : Indonesian Rupiah (IDR)
Virgo Ramayana
Physical sales
Digital sales
Performance rights
Total market
US$ Exchange Rate : 9,684.89
36
13
–
34
Internet users
Broadband lines
Mobile subs
Year
2008
53.2
515,669.2
-2.8%
2007
54.8
530,701.4
-18.2%
2006
67.0
648,411.7
33.2%
2005
50.3
486,851.7
-15.2%
2004
59.3
574,164.8
-14.8%
25.0
0.3
117.8
–
Perf. Rights
Year
Physical
Digital
2008
24.3
28.9
–
2007
32.3
22.5
–
2006
40.5
26.4
–
2005
50.3
–
–
2004
59.3
–
–
Note: Digital sales included from 2006.
Year
Physical
Digital
2008
–
99%
–
1%
Year
CD
2007
–
100%
–
–
2008
5.8
3.4
3.5
–
–
2006
–
84%
16%
–
2007
5.0
2.7
11.7
–
–
2005
–
–
–
–
2006
4.3
2.6
16.9
–
–
2004
–
–
–
–
2005
4.4
0.7
25.0
–
–
2004
4.6
1.2
34.0
–
–
6%
54%
46%
94%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Ringback tones
n Other
62
RIN 09 Indonesia - Japan - Malaysia.indd 2
7/5/09 15:42:23
63
IFPI Recording Industry In Numbers 2009 – Japan
3
46
8
Asia
Japan
Avex Marketing Inc.
Being Inc.
Columbia Music Entertainment Inc.
Dreamusic Inc.
World Ranking
Country Data
Forlife Music Entertainment Inc.
Geneon Universal Entertainment Japan, LLC
King Record Co. Ltd.
Currency : Yen (JPY)
Nippon Crown Co. Ltd.
Pony Canyon Inc.
Chart Compiler : RIAJ
Sony Music Entertainment (Japan) Inc.
Chart Links : w
ww.riaj.or.jp
Teichiku Entertainment Inc.
Internet users
Broadband lines
Mobile subs
RIAJ
Link : www.riaj.or.jp
Tokuma Japan Communications Co. Ltd.
VAP Inc.
Victor Entertainment Inc.
Physical sales
Digital sales
Performance rights
Total market
1
2
4
2
94.0
30.3
110.6
13.4
Yamaha Music Communications Co.
Yoshimoto R and C Co. Ltd.
Music sales in Japan bucked the trend
in 2008 growing by 0.9%. Digital sales
combined with performance rights
revenues continued to offset the decline
in physical sales. Digital revenues were
up 25.4%, with mobile sales accounting
for 88% of digital revenues. Full track
downloads to mobile accounted for over
half of mobile revenues. Performance
rights grew by 3.5% in 2008.
Domestic repertoire sales continued to
do better than international repertoire
and continued to account for the majority
of sales in Japan. Two Japanese acts
featured in the global digital single tracks
chart – Thelma Aoyama and GreeeeN.
illegal downloading has particularly
affected the 16-19s legal downloading
patterns, followed by the 25-29s (RIAJ).
Mobile-based piracy continued to impact
the industry in Japan, despite the fact
that Japan has one of the lowest digital
piracy rates in the world. 35% of mobile
users access illegal sites to download
mastertones/full tracks via their mobiles.
As many as 60% of 16-19 year olds
illegally download music content, up from
45% in 2006. 70% of music downloaded
is of Japanese origin. The increase in
Unlike in the US and Europe, music
sales in Japan outperformed other
entertainment sectors in 2008. The
Japanese video game software sector
shrank by 7.9% in retail value in 2008,
despite sales growth for the three
major systems (Wii, PS3 and Xbox 360)
(Enterbrain). Video sales also shrank,
by 11.1% in retail value (Japan Video
Software Association).
da
ta
U
Kobukuro
63
7/5/09 15:42:29
64
IFPI Recording Industry In Numbers 2009 – Japan
2
05
7
Asia
Japan
Year
2008
4,109.0
425,159.5
0.9%
2007
4,072.9
421,426.7
0.0%
2006
4,074.3
421,562.7
2.9%
2005
3,961.0
409,845.3
0.6%
2004
3,936.1
407,265.0
1.4%
Perf. Rights
Year
Physical
Digital
2008
3,215.6
820.8
72.7
2007
3,348.3
654.5
70.2
2006
3,565.5
654.5
69.4
2005
3,665.4
295.6
–
2004
3,813.5
122.5
–
included from 2004.
Year
Physical
Digital
2008
10%
88%
1%
1%
Year
CD
2007
8%
91%
1%
–
2008
165.4
17.1
49.8
459.0
2006
9%
91%
–
–
2007
176.5
17.3
59.8
–
–
2005
9%
91%
–
–
2006
197.5
18.9
65.8
–
–
2004
4%
96%
–
–
20.0
2005
211.8
20.3
66.7
–
–
2004
201.3
20.5
88.1
–
–
include mobile singles (RIAJ).
2%
Platinum Certified Album 2008
10%
Artist
Title
Company
Koda Kumi
Kingdom
Avex Marketing
Utada Hikaru
Heart Station
EMI Music Japan
Exile
Exile Catchy Best
Avex Marketing
B’z
B’z The Best (Ultra Pleasure)
Vermillion Records
Greeeen
A, Domo. Ohisashiburi Desu
Universal Music K.K.
Exile
Exile Entertainment Best
Avex Marketing
Namie Amuro
Best Fiction
Avex Marketing
Ayumi Hamasaki
A Complete (All Singles)
Avex Marketing
Mariya Takeuchi
Expressions
Warner Music Japan
Exile
Exile Ballad Best
Avex Marketing
Mr. Children
Supermarket Fantasy
Toy’s Factory
6%
20%
10%
78%
53%
21%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Mastertones
n Ringback tones
n Other
Source: RIAJ
64
7/5/09 15:42:33
RECORDING INDUSTRY IN NUMBERS
IFPI
2009Recording Industry In Numbers 2009 – Malaysia
65
3
46
8
Asia
Malaysia
Country Data
World Ranking
Hup Hup Sdn. Bhd.
Interglobal Music (Malaysia) Sdn. Bhd.
Currency : Ringgit (MYR)
New Southern Records Sdn. Bhd.
Rock Records (M) Sdn. Bhd.
Physical sales
Digital sales
Performance rights
Total market
PPM
Suwah Enterprise (M) Sdn. Bhd.
Internet users
Broadband lines
Mobile subs
Link : www.ppm.org.my
Year
2008
25.3
84.4
-7.0%
2007
27.2
90.7
-14.0%
2006
31.6
105.5
20.7%
2005
26.2
87.4
-9.9%
2004
29.0
97.0
0.8%
40
28
28
38
15.9
1.6
26.2
–
Perf. Rights
Year
Physical
Digital
2008
14.7
6.2
4.4
2007
18.5
4.8
3.9
2006
22.9
4.9
3.8
2005
26.2
–
–
2004
29.0
–
–
Year
Physical
Digital
2008
4%
95%
–
1%
Year
CD
2007
4%
96%
–
–
2008
1.6
0.4
0.1
–
–
2006
–
98%
2%
–
2007
2.1
0.5
0.2
–
–
2005
–
–
–
–
2006
2.2
0.5
0.6
–
–
2004
–
–
–
–
2005
2.2
0.7
1.4
–
–
2004
2.3
0.7
2.2
–
–
17%
25%
20%
58%
10%
70%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Ringback tones
n Mastertones
n Other
65
7/5/09 15:42:37
66
IFPI Recording Industry In Numbers 2009 – Philippines
2
05
7
Asia
Philippines
Country Data
World Ranking
Alpha Music Corporation
Galaxy Records
Currency : Philippine Peso (PHP)
Polyeast Records
Praise Inc.
Physical sales
Digital sales
Performance rights
Total market
PMPPSI
Star Recording Inc.
Universal Records
Internet users
Broadband lines
Mobile subs
Vicor Music Corporation
Viva Records
Year
2008
15.8
702.6
-3.0%
2007
16.2
724.2
-19.2%
2006
20.1
896.5
-14.7%
2005
23.6
1,050.9
3.2%
2004
22.8
1,018.0
-11.3%
41
38
–
42
14.0
1.0
66.0
–
Perf. Rights
Year
Physical
Digital
2008
13.4
2.3
–
2007
15.2
1.1
–
2006
19.3
0.8
–
2005
23.6
–
–
2004
22.8
–
–
Year
Physical
Digital
2008
7%
73%
–
20%
Year
CD
2007
–
100%
–
–
2008
2.6
0.5
0.2
–
–
2006
–
97%
3%
–
2007
3.0
0.4
–
–
–
2005
–
–
–
–
2006
3.9
0.5
0.3
–
–
2004
–
–
–
–
2005
3.6
0.6
0.7
–
–
2004
3.7
0.7
1.6
–
–
7%
15%
7%
28%
18%
85%
19%
21%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Ringback tones
n Mastertones
n Ad-supported
n Mobile single tracks
n Online streams
n Other
66
RIN 09 Philippines - Singapore.indd 2
7/5/09 15:54:22
67
IFPI Recording Industry In Numbers 2009 – Singapore
3
46
8
Asia
Singapore
Country Data
World Ranking
EQ Music Pte. Ltd.
HIM International Music Pte. Ltd.
Currency : Singapore Dollar (SGD)
Life Records Industries Pte. Ltd.
Ocean Butterfly Music Pte. Ltd.
Physical sales
Digital sales
Performance rights
Total market
RIPS
Rock Records (S) Ltd.
Internet users
Broadband lines
Mobile subs
Link : www.rips.com.sg
Year
2008
23.3
33.0
-16.0%
2007
27.7
39.3
-16.5%
2006
33.2
47.1
-14.2%
2005
38.6
54.9
-13.5%
2004
44.7
63.4
-8.9%
3.1
0.9
6.3
–
Perf. Rights
Year
Physical
Digital
1
CD Rama
2008
20.5
1.4
1.4
2
Gramophone
2007
26.1
1.0
0.6
3
HMV
2006
29.7
1.1
2.4
4
Sembawang Music
2005
38.6
–
–
5
That CD Shop
2004
44.7
–
–
6
Mobile 1
7
Nokia Music Store
8
Singtel IDEAS
9
Soundbuzz
10
Stanhub/PLAY
Year
38
41
37
39
Top Retailers
Physical
Digital
2008
16%
67%
10%
7%
Year
CD
2007
5%
86%
9%
–
2008
1.9
0.1
–
–
–
2006
18%
81%
1%
–
2007
2.4
0.1
–
–
–
2005
–
–
–
–
2006
2.7
0.2
0.1
–
–
2004
–
–
–
–
2005
4.6
0.2
0.1
–
–
2004
4.0
0.2
0.1
–
–
6%
6%
10%
7%
28%
9%
88%
10%
11%
25%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Ringback tones
n Mastertones
n Subscriptions
n Online streams
n Other
67
RIN 09 Philippines - Singapore.indd 3
7/5/09 15:54:27
68
IFPI Recording Industry In Numbers 2009 – South Korea
2
05
7
Asia
South Korea
Country Data
World Ranking
KTF Music
Loen Entertainment
Currency : South Korean Won (KRW)
Mnet Media
Neowitz Bugs
Physical sales
Digital sales
Performance rights
Total market
SM Entertainment
26
6
–
18
Internet users
Broadband lines
Mobile subs
36.8
15.5
44.5
–
Music sales in South Korea grew by 16.0% in 2008 with an 18.8% increase in physical sales and a 14.3% rise in digital sales.
The physical market grew for the first time in seven years, due in part to successful domestic and international albums released
during the year. South Korea was the first Asian market where the digital music market surpassed sales of physical products.
South Korea is now the second biggest digital market in Asia, only behind Japan, and sixth in the world. In 2008, 60% of music
sales came from digital platforms.
In March 2009, the Copyright Law was amended to provide record producers and performers with the right to equitable
remuneration for the public performance of their sound recordings. This will take effect in September 2009.
Physical piracy in South Korea has been overtaken by digital piracy. The National Assembly recently amended the Copyright Law
in early 2009 to include provisions which establish graduated sanctions against repeat online infringers. These provisions grant
the Ministry of Culture Sports and Tourism the power to order suspension, of up to six months, of the accounts of users who
continue to infringe copyright after three warnings.
Year
2008
140.6
155,111.9
16.0%
2007
121.2
133,667.2
-8.4%
2006
132.4
145,970.5
84.1%
2005
71.9
79,270.0
-19.6%
2004
89.4
98,585.4
-22.0%
Perf. Rights
Year
Physical
Digital
1
Evan Records
2008
56.4
84.3
–
2
Kyobo Hottracks
2007
47.5
73.7
–
3
Intenponk
2006
58.4
74.0
–
4
Yes 24
2005
71.9
–
–
5
Bugs Music
2004
89.4
–
–
6
Cyworld
7
Melon
8
Mnet
9
Soribada
Top Retailers
Physical
Digital
Year
CD
2008
7.1
0.2
0.1
–
–
2007
6.3
0.1
0.1
–
–
2006
7.9
0.1
0.2
–
–
2005
9.4
0.2
1.1
–
–
2004
10.9
0.1
2.4
–
–
Year
2008
52%
25%
23%
–
2007
54%
33%
13%
–
2006
43%
46%
11%
–
2005
–
–
–
–
2004
–
–
–
–
40%
24%
37%
60%
11%
9%
Recorded Music
Sales By Sector
n Physical
n Digital
9%
10%
n Subscriptions
n Online album
n Mastertones
n Ringback tones
n Other
68
RIN 09 South Korea - Taiwan.indd 2
7/5/09 16:01:03
69
IFPI Recording Industry In Numbers 2009 – Taiwan
3
46
8
Asia
Taiwan
Country Data
World Ranking
Avex
Forward Music Co. Ltd.
Currency : New Taiwan Dollar (TWD)
HIM International Music Incorporated
Linfair Records Limited
Physical sales
Digital sales
Performance rights
Total market
ARCO/AMCO
Rock Records (Taiwan) Co. Ltd.
Source: IFPI members
Internet users
Broadband lines
Mobile subs
Link : www.arco.org.tw
Year
2008
59.1
1,864.7
2007
70.2
2,214.9
-15.8%
-2.2%
2006
71.8
2,265.1
-29.4%
2005
101.7
3,210.5
-25.9%
2004
137.3
4,334.6
-1.1%
29
24
38
31
15.1
4.7
22.9
–
Perf. Rights
Year
Physical
Digital
2008
49.6
8.1
1.3
2007
62.1
8.1
–
2006
67.0
4.8
–
2005
101.7
–
–
2004
137.3
–
–
included from 2006.
Year
Physical
Digital
2008
36%
44%
14%
6%
Year
CD
2007
41%
48%
11%
–
2008
4.1
0.4
0.3
–
–
2006
29%
65%
6%
–
2007
5.4
0.3
0.3
–
–
2005
–
–
–
–
2006
5.7
0.4
0.7
–
–
2004
–
–
–
–
2005
9.4
0.6
0.3
–
–
2004
14.9
0.8
0.3
–
–
2%
14%
30%
52%
84%
13%
5%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Ringback tones
n Subscriptions
n Mastertones
n Other
69
RIN 09 South Korea - Taiwan.indd 3
7/5/09 16:01:07
70
IFPI Recording Industry In Numbers 2009 – Thailand
2
05
7
Asia
Thailand
Country Data
World Ranking
GMM Grammy Public Co. Ltd.
Nopporn Silver Gold Co. Ltd.
Currency : Baht (THB)
Platinum Marketing and Distribution Co. Ltd.
RS. Promotion Public Co. Ltd.
Physical sales
Digital sales
Performance rights
Total market
Phonorights (Thailand) Ltd.
Sure-Audio Co. Ltd.
31
15
45
28
Internet users
Broadband lines
Mobile subs
Link : www.1stopmusic.com
13.4
0.6
48.8
0.5
Note: Portable player users refer to devices sold in 2008.
Year
Recorded Music Sales (trade value)
2008
68.3
2,271.0
7.3%
2007
63.6
2,117.4
-14.1%
2006
74.1
2,464.7
-20.6%
2005
93.3
3,103.1
-19.7%
2004
116.2
3,865.9
0.0%
Perf. Rights
Year
Physical
Digital
1
B2S
2008
43.0
25.0
0.3
2
GMS Major
2007
48.1
14.9
0.6
3
Imagine
2006
59.5
14.5
–
4
Mangpong
2005
93.3
–
–
5
Media Network
2004
116.2
–
–
6
gmember.com
7
pleng.com
8
sure-audio.com
9
truemusic.com
10
you2play.com
included from 2006.
Year
Top Retailers
Physical
Digital
2008
8%
71%
18%
3%
Year
CD
2007
4%
96%
–
–
2008
6.1
7.2
–
–
–
2006
1%
99%
–
–
2007
6.2
8.1
1.0
–
–
2005
–
–
–
–
2006
7.8
7.4
3.5
–
–
2004
–
–
–
–
2005
11.8
10.9
5.3
–
–
2004
11.8
15.6
7.8
–
–
17%
37%
10%
63%
55%
18%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Ringback tones
n Subscriptions
n Mastertones
n Other
70
RIN 09 Thailand - Australia.indd 2
7/5/09 16:04:25
71
IFPI Recording Industry In Numbers 2009 – Australia
3
46
8
Australasia
Australia
Country Data
World Ranking
Inertia
MGM
Currency : Australian Dollar (AUD)
Rajon
Shock
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : ARIA
Stomp
7
8
15
7
Chart Links : www.aria.com.au
Internet users
Broadband lines
Mobile subs
PPCA
Link : www.ppca.com.au
16.7
6.7
21.3
5.0
Music sales in Australia were down 6.0% driven by a steep decline in physical sales. Digital sales, on the other hand grew significantly,
now accounting for 13% of sales in Australia, up from 8% in 2007. Digital album sales saw significant growth alongside single track
downloads. Performance rights also saw a double-digit increase.
Home grown talent still appeals to Australian music fans, with domestic music making up about one third of all acts in the Australian charts.
While chart heavy-weights such as AC/DC, Kasey Chambers and Sneaky Sound System continued to further their previous successes, there
was a strong batch of new names gracing the Australian charts – Gabriella Cilmi, Cut Copy and The Presets to name a few.
Sales in the final quarter of 2008 were strong, led by blockbuster releases from artists such as P!nk, Kings of Leon and AC/DC. Andre
Rieu drove music DVD sales, accounting for nine different titles at number one, across 36 weeks of the year.
Despite the global economic outlook, the Australian industry is optimistic that overall industry sales will remain solid through 2009,
due to a strong schedule of releases and extensive tour activity.
Year
2008
389.2
467.0
-6.0%
2007
413.9
496.7
-9.6%
2006
458.0
549.6
-1.3%
2005
463.8
556.6
-13.0%
2004
532.9
639.5
-5.8%
Perf. Rights
Year
Physical
Digital
2008
325.2
51.2
12.8
2007
369.7
33.0
11.3
2006
423.4
23.8
10.9
2005
455.6
8.2
–
2004
531.7
1.3
–
included from 2004.
Year
Physical
Digital
2008
69%
29%
–
2%
Year
CD
2007
60%
40%
–
–
2008
30.2
3.9
1.4
20.0
3.0
2006
52%
48%
–
–
2007
33.8
4.5
2.6
15.0
0.8
2005
41%
59%
–
–
2006
38.1
4.1
4.7
9.0
0.4
2004
47%
53%
–
–
2005
37.7
3.8
8.0
2.0
0.1
2004
39.5
4.5
9.9
–
–
refer to online single track sales only (ARIA).
%
3
Artist
Title
Company
1
Kings Of Leon
Only By The Night
RCA/SBME
2
P!nk
Funhouse
LAF/SBME
3
AC/DC
Black Ice
ALB/SBME
4
Coldplay
Viva La Vida
CAP/EMI
5
The Presets
Apocalypse
MOD/UMA
6
Soundtrack
Mamma Mia!
PDR/UMA
7
Chris Brown
Exclusive
JVE/SBME
8
Metallica
Death Magnetic
MER/UMA
9
Rihanna
Good Girl Gone Bad
DFJ/UMA
10
Jason Mraz
We Sing, We Dance, We Steal Things
ATL/WAR
13%
13%
9%
84%
40%
15%
23%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Online album
n Mastertones
n Other
71
RIN 09 Thailand - Australia.indd 3
7/5/09 16:04:30
72
IFPI Recording Industry In Numbers 2009 – New Zealand
2
05
7
Australasia
New Zealand
Country Data
World Ranking
174 East Ltd.
Border Music Ltd.
Currency : New Zealand Dollar (NZD)
Dawn Raid Music Ltd.
Liberation Music NZ Ltd.
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : Media Sauce/RIANZ
Rhythmethod Ltd.
Chart Links : www.nztop40.com
Shock Records
28
30
33
30
Internet users
Broadband lines
Mobile subs
PPNZ
Link : www.rianz.org.nz
3.4
0.9
3.9
1.0
Recorded music sales in New Zealand were down 7.0% in 2008. A 10.1% fall in physical sales was partly offset by a 21.7% increase in
digital sales and a 21.7% rise in performance rights revenues. Digital sales now account for 9% of New Zealand’s music market despite
the demise of two digital music providers – Coke Tunes and Txt tunes. The opening of the 12,000 capacity Vector Arena as a centre for
live events has seen a marked increase in the number and frequency of bigger international acts performing in New Zealand. Recent
performances at Vector Arena include Kings of Leon, Coldplay, Red Hot Chili Peppers, Foo Fighters, Billy Joel and Eric Clapton.
Proposed amendments to the Copyright Act 1994, addressing copyright infringing online file-sharing activity were postponed by the new
National Government. The proposed provision requiring ISPs to adopt a reasonable policy for terminating the internet accounts of repeat
copyright infringers will now be reworked to provide greater clarity for ISPs as to how they will need to address the infringing peer-to-peer
file-sharing activity that is negatively impacting the legitimate sales of recorded music. The New Zealand government has announced a
US$1.5 billion investment to deliver ultra-fast broadband to 75% of the population within 10 years through public-private partnerships.
Year
2008
59.1
84.5
-7.0%
2007
63.6
90.9
-9.1%
2006
69.9
100.0
-9.1%
2005
76.9
110.0
-1.7%
2004
78.3
111.9
-7.4%
Perf. Rights
Year
Physical
Digital
1
iTunes
2008
51.6
5.2
2.3
2
JB HiFi
2007
57.4
4.3
1.9
3
The CD & DVD Store
2006
65.4
3.0
1.5
4
The Warehouse
2005
76.9
–
–
5
Vodafone
2004
78.3
–
–
Top Retailers
Year
Physical
Digital
2008
54%
44%
–
1%
Year
CD
2007
37%
63%
–
–
2008
4.8
0.8
–
3.0
–
2006
5%
95%
–
–
2007
4.8
0.6
3.2
–
–
2005
–
–
–
–
2006
6.0
0.6
2.4
–
–
2004
–
–
–
–
2005
6.7
0.5
1.6
–
–
2004
6.7
0.5
0.8
–
–
refer to online single track sales only.
Artist
Title
Company
1
Billy T James
The Comic Genius of Billy T James
Sony Music
2
Kings Of Leon
Only By The Night
Sony Music
3
Mamma Mia Cast
Mamma Mia: The Movie
Universal
4
Duffy
Rockferry
Universal
5
Amy Winehouse
Back To Black
Universal
6
Coldplay
Viva La Vida
Parlophone/EMI
7
Metallica
Death Magnetic
Universal
8
P!nk
Funhouse
Sony Music
9
Tiki Taane
Past, Present, Future
Dirty Dub/
Rhythmethod
10
The Feelers
The Best: 1998-2008
WEA/Warner
9%
4%
8%
26%
87%
14%
30%
22%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Online album
n Mastertones
n Other
72
RIN 09 New Zealand - Argentina.indd 2
7/5/09 15:48:14
73
IFPI Recording Industry In Numbers 2009 – Argentina
3
46
8
Latin America
Argentina
Country Data
World Ranking
Distribuidora Belgrano Norte
EPSA Music
Currency : Argentina Peso (ARS)
Leader Music
Music Brokers
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : CAPIF
Pop Art
Chart Links : www.capif.org.ar
Internet users
Broadband lines
Mobile subs
CAPIF
Link : www.capif.org.ar
Year
2008
63.2
200.4
-0.1%
2007
63.3
200.6
9.3%
2006
57.9
183.6
23.1%
2005
47.0
149.1
28.2%
2004
36.7
116.3
24.3%
20.0
3.0
38.7
–
Perf. Rights
Year
Physical
Digital
1
10 Musica
2008
54.7
2.7
5.9
2
Eden
2007
56.4
2.1
4.7
3
M24
2006
53.1
1.1
3.7
4
Musimundo
2005
47.0
–
–
5
Personal Musica
2004
36.7
–
–
6
Ubbimusica
7
Yenny/El Ateneo
8
Zapmusic
Note: Digital sales and performance rights included from 2006.
Year
27
37
24
29
Top Retailers
Physical
Digital
2008
6%
81%
–
13%
Year
CD
2007
1%
99%
–
–
2008
12.6
1.4
0.1
–
–
2006
9%
91%
–
–
2007
15.0
1.3
0.1
–
–
2005
–
–
–
–
2006
14.4
1.0
0.3
–
–
2004
–
–
–
–
2005
13.8
0.6
0.6
–
–
2004
11.4
0.3
0.6
–
–
2%
1
Artist
Title
Company
Various
Life Is A Fiesta - Patito Feo
EMI
2
Luis Miguel
Complices
Warner
3
Teenangels
Teenangels Li
Sony Music
EMI
4
Coldplay
Viva La Vida
5
Ricardo Arjona
Fifth Floor
Warner
6
Serrat & Sabina
Two Birds With One Stone
Sony Music
7
AC/DC
Black Ice (Deluxe)
Sony Music
8
Madonna
Hard Candy
Warner
9
Jonas Brothers
Jonas Brothers
Universal
10
Various
Camp Rock
Universal
8%
4% 9%
11%
87%
15%
64%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Mastertones
n Ringback tones
n Ad-supported
n Other
73
RIN 09 New Zealand - Argentina.indd 3
7/5/09 15:48:18
74
IFPI Recording Industry In Numbers 2009 – Brazil
2
05
7
Latin America
Brazil
Country Data
World Ranking
Atração Fonográfica
Biscoito Fino
Currency : Real (BRL)
CID Entertainment
Deck Disk
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : ABPD
Indie Records
Chart Links : www.abpd.org.br
MD Music
Performance Rights Music Licensing Company :
ABRAMUS
MK Music
12
10
14
11
Internet users
Broadband lines
Mobile subs
Som Livre
Link : www.abramus.org.br
67.5
9.4
147.0
–
Music sales in Brazil grew by 8.1% in 2008, following a sharp drop in revenues in 2007 and 2006. Physical sales grew by 1.2%
while digital revenues were up 78.9%. The performance rights sector also experienced an increase of 12.8% compared to 2007.
Focus group research carried out in 2008 among 16-29 year olds, middle/upper class background, in the three major cities of the
country found that young Brazilians are digitally connected and tech savvy. All young consumers that took part in the study owned
an iPod or an MP3 player, many using their mobile phone as their music player.
PC and internet usage was also widespread, with around 70% using MSN, Orkut and email on a daily basis, 30% accessing sites to
download music daily and 20% visiting YouTube every day. Demand for music remains high among young Brazilians, but most of this
demand is met by P2P file-sharing. 80% of students claimed to have downloaded music from illegal file-sharing sites, although 53% still
buy legitimate CDs. Only 20% of young consumers said they buy pirated CDs. Brazil’s physical piracy rate has gone down to about 48%
from a high of 55% during the past two years. This decrease can be attributed to the work of the CNCP (the government’s anti-piracy
council) and the successful merger of the music and film anti-piracy arms. Nevertheless, some of the decrease in physical piracy can be
accounted for by a shift to internet piracy.
Year
2008
221.8
408.2
8.1%
2007
205.2
377.5
-25.1%
2006
274.0
504.2
-21.8%
2005
350.5
645.0
-12.3%
2004
399.8
735.7
17.5%
Perf. Rights
Year
Physical
Digital
1
Lojas Americanas
2008
179.0
29.7
13.1
2
FNAC
2007
176.9
16.6
11.6
3
Saraiva
2006
257.1
6.0
10.9
4
Carrefour/Extra
2005
348.3
2.2
–
5
Livraria Cultura
2004
399.8
–
–
Top Retailers
included from 2005.
Year
Physical
Digital
2008
8%
79%
9%
4%
Year
CD
2007
12%
79%
9%
–
2008
25.4
5.8
–
–
–
2006
2%
96%
2%
–
2007
26.6
5.7
–
–
–
2005
13%
87%
–
–
2006
33.0
6.0
–
–
–
2004
–
–
–
–
2005
42.3
6.5
4.5
–
–
2004
51.5
7.6
6.9
–
–
6%
Artist
Title
Company
1
Padre Fábio de Melo
Vida
Som Livre
2
Padre Marcelo Rossi
Paz Sim, Violência Não (Volume 1)
Sony Music
3
Victor & Leo
Borboletas
Sony Music
4
Victor & Leo
Ao Vivo Em Uberlândia
Sony Music
5
Ivete Sangalo
Multishow Ao Vivo No Maracanã
Universal Music
6
Padre Marcelo Rossi
Paz Sim, Violência Não (Volume 2)
Sony Music
7
Zezé Di Camargo & Luciano
Sony Music
Universal Music
8
Roberto Carlos
9
Ana Carolina
Zezé Di Camargo & Luciano (2008)
Roberto Carlos E Caetano Veloso
E A Música De Tom Jobim
Multishow Ao Vivo “Dois Quartos”
10
Leonardo
Coração Bandido
Source: ABPD
Sony Music/
Universal Music
Sony Music
13%
13%
7%
9%
81%
55%
16%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Mastertones
n Subscriptions
n Online streams
n Other
74
RIN 09 Brazil - Chile.indd 2
7/5/09 15:07:12
75
IFPI Recording Industry In Numbers 2009 – Chile
3
46
8
Latin America
Chile
Country Data
World Ranking
Alerce
ChileFilms
Currency : Chilean Peso (CLP)
La Oreja
Mazapan
Physical sales
Digital sales
Performance rights
Total market
IFPI Chile
Producciones Star Sound
Internet users
Broadband lines
Mobile subs
Link : www.ifpichile.cl
Year
2008
18.5
9,690.8
-25.3%
2007
24.8
12,980.8
-0.6%
2006
24.9
13,055.7
-3.4%
2005
25.8
13,514.0
-4.5%
2004
27.0
14,153.5
-16.9%
42
34
35
41
8.4
1.3
15.5
–
Perf. Rights
Year
Physical
Digital
2008
12.7
4.1
1.7
2007
20.5
2.8
1.5
2006
22.3
1.0
1.6
2005
25.8
–
–
2004
27.0
–
–
Year
Physical
Digital
2008
1%
94%
–
5%
Year
CD
2007
–
100%
–
–
2008
2.5
0.3
0.1
–
–
2006
–
100%
–
–
2007
3.5
0.8
–
–
–
2005
–
–
–
–
2006
3.9
0.4
–
–
–
2004
–
–
–
–
2005
4.1
0.9
0.4
–
–
2004
4.0
0.5
0.4
–
–
9%
32%
22%
31%
69%
5%
7%
25%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Mastertones
n Ringback tones
n Ad-supported
n Other
75
RIN 09 Brazil - Chile.indd 3
7/5/09 15:07:17
76
IFPI Recording Industry In Numbers 2009 – Colombia
2
05
7
Latin America
Colombia
Country Data
World Ranking
Population (millions) : 45
Codiscos
Discos y Cintas FM
Currency : Colombian Peso (COP)
Discos Fuentes
Origin
Physical sales
Digital sales
Performance rights
Total market
ACINPRO
Internet users
Broadband lines
Mobile subs
Link : www.acinpro.org.co
Year
37
27
34
37
2008
29.5
58,699.3
5.0%
2007
28.1
55,894.4
-16.1%
2006
33.5
66,587.6
6.3%
2005
31.5
62,636.3
5.7%
2004
29.8
59,284.8
-7.6%
13.7
1.2
40.4
–
Perf. Rights
Year
Physical
Digital
1
Tower Records
2008
21.0
6.3
2.1
2
Prodiscos
2007
22.0
4.1
2.0
3
La Música
2006
30.1
1.5
1.8
4
Tango Discos
2005
31.5
–
–
5
Forum Discos y Libros
2004
29.8
–
–
Top Retailers
Year
Physical
Digital
2008
7%
86%
–
7%
Year
CD
2007
–
100%
–
–
2008
4.0
0.4
–
–
–
2006
14%
86%
–
–
2007
3.7
0.4
–
–
–
2005
–
–
–
–
2006
5.4
0.7
–
–
–
2004
–
–
–
–
2005
6.7
0.3
0.2
–
–
2004
5.6
0.3
–
–
–
7%
Artist
Title
Company
1
Silvestre Dangond
El Original
Sony Music
2
Fonseca
Gratitud EMI Colombia
3
Vicente Fernández
Para Siempre
Sony Music
4
Juanes
La Vida Es Un Ratico
Universal
5
Peter Manjarres
Solo Clasicos
Codiscos
6
Various
Pombo Musical
EMI Colombia
7
Orquesta Filarmónica
De Bogotá
Orquesta Filarmónica De Bogotá / 40 Años
Vibra Music
8
Various
Patito Feo / La Historia Más Linda
EMI Colombia
9
Camilo
Regalame Tu Corazón
FM Discos
Y Cintas
10
Various
Rockola Boleros / V. 19
Comusica
24%
21%
72%
29%
7%
7%
11%
22%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Mastertones
n Ringback tones
n Online streams
n Ad-supported
n Other
76
RIN 09 Colombia - Ecuador.indd 2
7/5/09 15:27:03
77
IFPI Recording Industry In Numbers 2009 – Ecuador
3
46
8
Latin America
Ecuador
Country Data
World Ranking
Physical sales
Digital sales
Performance rights
Total market
Currency : US Dollar (USD)
ACINPRO
Internet users
Broadband lines
Mobile subs
Link : www.acinpro.org.co
Year
49
51
49
51
2008
1.6
41,554.8
-18.8%
2007
2.0
51,163.8
-16.2%
2006
2.4
61,042.9
-22.6%
2005
3.1
78,828.4
1.1%
2004
3.0
77,968.7
-32.9%
1.8
0.3
11.5
–
Perf. Rights
Year
Physical
Digital
2008
1.6
–
0.1
2007
2.0
–
–
2006
2.4
–
–
2005
3.1
–
–
2004
3.0
–
–
Physical
Digital
Year
CD
2008
0.2
–
–
–
–
2007
0.3
–
–
–
–
2006
0.4
–
–
–
–
2005
0.5
–
–
–
–
2004
0.5
–
–
–
–
4%
96%
Recorded Music
Sales By Sector
n Physical
77
RIN 09 Colombia - Ecuador.indd 3
7/5/09 15:27:06
78
IFPI Recording Industry In Numbers 2009 – Mexico
2
05
7
Latin America
Mexico
Country Data
World Ranking
Population (millions) : 110
Compañía Fonográfica Internacional
Discos Ciudad
Currency : Mexican Peso (MXN)
Discos Denver
Discos Musart/Balboa Records
Physical sales
Digital sales
Performance rights
Total market
Chart Compiler : IPSOS
Mexican Records
Chart Links : www.amprofon.com.mx
Multimusic
SOMEXFON
Producciones Fonográficas Jasper
Link : www.somexfon.com
Music sales in Mexico were hard hit in
2008 falling by 22.0%. While physical
sales continued to decline, the digital
market remained relatively flat in 2008.
The continuing pressure from illegal
downloading and physical piracy as well
as the effects of the global economic
downturn were the main causes for the
Mexican market decline.
Illegal downloading is a growing problem
in Latin America, fuelled by the rise in
broadband access. Some 14 million
Luis Miguel
people downloaded songs illegally in
Mexico during 2008, nearly double the
number recorded in 2007 (Ipsos Media).
Meanwhile the legal online market
struggles to take off despite Beon and
Tarabú, the two main online music
stores in Mexico, seeing some positive
developments in 2008. The most
downloaded songs in 2008 were Vicente
Fernández’s Para Siempre and Alejandro
Fernández’s Me Dediqué a Perderte. The
mobile sector continued to account for
15
18
41
16
Internet users
Broadband lines
Mobile subs
23.9
7.1
77.4
7.5
the bulk of digital revenues in Mexico.
Music acquisition via pre-loaded mobile
phones or purchase of current hit
mastertones remained popular.
The most successful examples of
pre-loaded albums in 2008 involved
Julieta Vengas’ MTV Unplugged and
Grupo RBD’s Empezar Desde Cero.
Among the most successful mastertones
of 2008 were Nigga’s Te Quiero and
Juanes’ Me Enamora. Ad-supported
revenues continued to grow in 2008.
Vicente Fernández
78
RIN 09 Mexico.indd 2
7/5/09 15:46:31
79
IFPI Recording Industry In Numbers 2009 – Mexico
3
46
8
Year
2008
145.9
1,629.5
-22.0%
2007
187.1
2,090.1
-18.8%
2006
230.4
2,573.6
-10.1%
2005
256.3
2,862.8
10.2%
2004
232.7
2,598.7
9.3%
Perf. Rights
Year
Physical
Digital
1
Mixup
2008
129.7
15.7
0.5
2
Saharis
2007
171.0
15.5
0.6
3
Mr. CD’s
2006
222.0
8.3
0.1
4
Central de Discos
2005
255.8
0.5
–
5
Unicornio Musical
2004
232.6
–
–
Top Retailers
included from 2005.
Year
Physical
Digital
2008
15%
72%
–
13%
Year
CD
2007
4%
96%
–
–
2008
22.4
1.4
0.1
11.0
0.8
2006
1%
99%
–
–
2007
30.5
1.8
0.1
–
–
2005
8%
92%
–
–
2006
38.6
1.4
0.2
–
–
2004
100%
–
–
–
2005
46.3
1.4
0.9
–
–
2004
53.2
1.6
1.7
–
–
refer to online single track sales only (Amprofon).
1
Artist
Title
Company
Vicente Fernández
Para Siempre
Sony Music
2
Luís Miguel
Cómplices
Warner Music
3
Alejandro Fernández
De Noche: Clásicos a mi Manera
Sony Music
4
Alejandro Fernández
15 Años de Éxito
Sony Music
5
Emmanuel
Retro en Vivo
Universal Music
6
Madonna
Hard Candy
Warner Music
7
Julieta Venegas
MTV Unplugged
Sony Music
8
Nigga
Te Quiero
TEMI
9
Maná
Arde el Cielo
Warner Music
10
Jonas Brothers
Jonas Brothers
Universal Music
Source: IPSOS
11%
33%
89%
5%
25%
15%
6% 7% 9%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Mastertones
n Ad-supported
n Online streams
n Mobile music videos
n Other
Sales By Age
12-17
11%
18-25
24%
26-35
25%
36-45
16%
46-55
17%
+55
7%
Source: IPSOS
79
RIN 09 Mexico.indd 3
7/5/09 15:46:36
80
IFPI Recording Industry In Numbers 2009 – Peru
2
05
7
Latin America
Peru
Country Data
World Ranking
Physical sales
Digital sales
Performance rights
Total market
Currency : Nuevo Sol (PEN)
48
–
42
50
Internet users
Broadband lines
Mobile subs
Year
2008
2.0
6.0
2007
2.1
6.3
-5.5%
-9.4%
2006
2.4
7.0
-10.0%
2005
2.6
7.8
-6.9%
2004
2.8
8.4
29.0%
7.6
0.6
17.9
–
Perf. Rights
Year
Physical
Digital
2008
1.6
–
0.4
2007
1.9
–
0.2
2006
2.2
–
0.2
2005
2.6
–
–
2004
2.8
–
–
Physical
Digital
Year
CD
2008
0.2
–
–
–
–
2007
0.1
–
–
–
–
2006
0.3
–
–
–
–
2005
0.4
–
–
–
–
2004
0.4
–
–
–
–
19%
81%
Recorded Music
Sales By Sector
n Physical
80
RIN 09 Peru - Uruguay.indd 2
7/5/09 15:52:55
81
IFPI Recording Industry In Numbers 2009 – Uruguay
3
46
8
Latin America
Uruguay
Country Data
World Ranking
Contrapedal
Koala Records
Currency : Uruguayan Peso (UYU)
Nirmalam
Perro Andaluz
Physical sales
Digital sales
Performance rights
Total market
47
–
40
49
Internet users
Broadband lines
Mobile subs
1.1
0.2
3.2
1.4
Note: Portable player users refers to imported equipment in 2008.
Year
2008
3.6
76.7
-0.3%
2007
3.6
76.9
10.1%
2006
3.3
69.8
35.5%
2005
2.4
51.5
-1.8%
2004
2.5
52.5
75.0%
Perf. Rights
Year
Physical
Digital
1
3D
2008
3.0
–
0.6
2
AG Discos
2007
3.1
–
0.5
3
CD Wherhouse
2006
2.9
–
0.3
4
Palacio de la Música
2005
2.4
–
–
5
Semifusa
2004
2.5
–
–
6
Todo Música
Top Retailers
Year
Physical
Digital
2008
15%
72%
–
13%
Year
CD
2007
4%
96%
–
–
2008
0.5
–
–
–
–
2006
1%
99%
–
–
2007
0.5
0.1
–
–
–
2005
8%
92%
–
–
2006
0.5
–
–
–
–
2004
100%
–
–
–
2005
0.4
–
–
–
–
2004
0.4
–
–
–
–
Note: Music video includes DVD.
Artist
Title
Company
1
Various
Murgas 2008
Montevideo MG
2
No Te Va Gustar
El Camino Mas Largo
Bizarro
3
La Trampa
El Misero Espiral Del Encanto
Bizarro
4
Patito Feo
La Vida Es Una Fiesta
EMI
5
Sabina & Serrat
Dos Pajaros De Un Tiro
Sony Music
6
Teen Angels
Teenangels 2
Sony Music
7
Ricardo Arjona
5to Piso
Sello
8
Agarrate Catalina
El Viaje
Montevideo MG
9
Tabare Cardozo
El Murguero Oriental
Montevideo MG
10
Coldplay
Viva La Vida
EMI
17%
83%
Recorded Music
Sales By Sector
n Physical
81
RIN 09 Peru - Uruguay.indd 3
7/5/09 15:52:58
82
IFPI Recording Industry In Numbers 2009 – Venezuela
2
05
7
Latin America
Venezuela
Country Data
World Ranking
Physical sales
Digital sales
Performance rights
Total market
Currency : Bolivar Fuerte (VEF)
39
43
39
40
Internet users
Broadband lines
Mobile subs
Year
2008
20.3
43.5
19.2%
2007
17.0
36.5
28.3%
2006
13.3
28.5
24.9%
2005
10.6
22.8
12.4%
2004
9.4
20.3
221.1%
6.7
0.9
26.7
–
Perf. Rights
Year
Physical
Digital
2008
18.2
1.0
1.1
2007
15.6
0.8
0.7
2006
12.8
–
0.4
2005
10.6
–
–
2004
9.4
–
–
included from 2007.
Year
Physical
Digital
2008
–
88%
–
12%
Year
CD
2007
–
–
–
–
2008
1.0
–
0.1
–
–
2006
–
–
–
–
2007
1.4
0.1
–
–
–
2005
–
–
–
–
2006
1.7
0.1
–
–
–
2004
–
–
–
–
2005
2.0
–
–
–
–
2004
2.6
0.1
–
–
–
Note: Music video refers to DVD. Other physical includes singles, vinyl, cassette and other.
%
5% 5
8%
11%
12%
90%
46%
23%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Mastertones
n Ringback tones
n Ad-supported
n Other
82
RIN 09 Venezuela - South Africa.indd 2
7/5/09 16:07:46
83
IFPI Recording Industry In Numbers 2009 – South Africa
3
46
8
Africa
South Africa
Country Data
World Ranking
Bula Music
Cool Spot
Currency : Rand (ZAR)
Sarepta
Select
Physical sales
Digital sales
Performance rights
Total market
RISA
Sheer Sound/Music/Iris
Internet users
Broadband lines
Mobile subs
Link : www.risa.org.za
Year
Recorded Music Sales (trade value)
2008
119.7
990.9
-7.2%
2007
128.9
1,067.5
2.3%
2006
126.0
1,043.1
3.3%
2005
122.0
1,010.2
10.3%
2004
110.6
915.5
20.8%
18
35
36
22
4.6
0.4
45.0
–
Perf. Rights
Year
Physical
Digital
2008
114.6
3.4
1.7
2007
126.2
2.8
–
2006
124.0
2.0
–
2005
121.5
0.5
–
2004
110.6
–
–
included from 2005.
Year
Physical
Digital
2008
2%
83%
2%
13%
Year
CD
2007
3%
97%
–
–
2008
18.7
2.3
2.1
–
–
2006
1%
99%
–
–
2007
19.5
–
5.0
–
–
2005
2%
97%
1%
–
2006
18.7
2.2
3.4
–
–
2004
–
–
–
–
2005
17.6
1.7
4.0
–
–
2004
14.8
0.9
5.6
–
–
3% 1
%
20%
37%
96%
19%
24%
Recorded Music
Sales By Sector
Digital Sales
By Format (Value)
n Physical
n Digital
n Ringback tones
n Mastertones
n Other
83
RIN 09 Venezuela - South Africa.indd 3
7/5/09 16:07:50
84
Appendix
Index
85 : World Rankings 2008
86 : Recorded Music Volume Trend
87 : Recorded Music Retail Sales 2008
88 : Digital Share By Market 2004 – 2008
89 : Physical Market Repertoire Origin 2008
90 : Certification Award Levels
92 : Local Music Industry Association Contacts
94 : Taxes On Sound Recordings & Exchange Rates
84
85
World Rankings
2008
% Of Global Trade Revenues
Country
Recorded Music Market
Country
1
US
27.0%
1
US
2
Japan
22.3%
2
Japan
3
UK
10.0%
3
UK
4
Germany
8.8%
4
France
5
France
5.7%
5
Germany
6
Canada
2.5%
6
South Korea
7
Australia
2.1%
7
Canada
8
Italy
1.8%
8
Australia
9
Spain
1.6%
9
China
10
Netherlands
1.5%
10
Brazil
11
Brazil
1.2%
11
Spain
12
Russia
1.2%
12
India
13
Switzerland
1.0%
13
Indonesia
14
Belgium
1.0%
14
Italy
15
Austria
0.8%
15
Thailand
16
Mexico
0.8%
16
Belgium
17
Sweden
0.8%
17
Denmark
18
South Korea
0.8%
18
Mexico
19
India
0.8%
19
Netherlands
20
Denmark
0.7%
20
Switzerland
21
Norway
0.7%
21
Sweden
22
South Africa
0.6%
22
Norway
23
Poland
0.6%
23
Austria
24
Finland
0.5%
24
Taiwan
25
China
0.4%
25
Russia
26
Turkey
0.4%
26
Hong Kong
27
Portugal
0.4%
27
Colombia
28
Thailand
0.4%
28
Malaysia
29
Argentina
0.3%
29
Greece
30
New Zealand
0.3%
30
New Zealand
31
Taiwan
0.3%
31
Finland
32
Greece
0.3%
32
Poland
33
Hong Kong
0.3%
33
Portugal
34
Indonesia
0.3%
34
Chile
35
Czech Republic
0.2%
35
South Africa
36
Hungary
0.2%
36
Central America
37
Colombia
0.2%
37
Argentina
38
Malaysia
0.1%
38
Philippines
39
Singapore
0.1%
39
Romania
40
Venezuela
0.1%
40
Czech Republic
41
Chile
0.1%
41
Singapore
42
Philippines
0.1%
42
Hungary
43
Croatia
0.1%
43
Venezuela
44
Central America
0.1%
44
Turkey
45
Slovakia
0.1%
45
Barbados
46
Israel
<0.1%
46
Bulgaria
47
Bulgaria
<0.1%
47
Croatia
48
Romania
<0.1%
48
Lithuania
49
Uruguay
<0.1%
49
Slovakia
50
Peru
<0.1%
50
Ukraine
51
Ecuador
<0.1%
51
Ecuador
52
Lithuania
<0.1%
52
Paraguay
53
54
55
Ukraine
<0.1%
<0.1%
<0.1%
53
54
55
Peru
Source: IFPI
Paraguay
Barbados
Uruguay
Israel
Digital Market
47.1%
21.7%
6.7%
4.2%
3.3%
2.2%
2.0%
1.4%
1.3%
0.8%
0.8%
0.8%
0.8%
0.8%
0.7%
0.5%
0.5%
0.4%
0.4%
0.4%
0.3%
0.3%
0.3%
0.2%
0.2%
0.2%
0.2%
0.2%
0.1%
0.1%
0.1%
0.1%
0.1%
0.1%
0.1%
0.1%
0.1%
0.1%
0.1%
0.1%
<0.1%
<0.1%
<0.1%
<0.1%
<0.1%
<0.1%
<0.1%
<0.1%
<0.1%
<0.1%
<0.1%
Country
1
UK
2
Germany
3
France
4
Japan
5
US
6
Netherlands
7
Spain
8
Italy
9
Belgium
10
India
11
Canada
12
Denmark
13
Austria
14
Brazil
15
Australia
16
Sweden
17
Finland
18
Norway
19
Israel
20
Hungary
21
Turkey
22
Switzerland
23
Hong Kong
24
Argentina
25
Czech Republic
26
Greece
27
Poland
28
Malaysia
29
Russia
30
Romania
31
Slovakia
32
Portugal
33
New Zealand
34
Colombia
35
Chile
36
South Africa
37
Singapore
38
Taiwan
39
Venezuela
40
Uruguay
41
Mexico
42
Peru
Performance Rights
16.8%
11.0%
10.7%
9.1%
6.8%
6.1%
4.5%
3.6%
3.2%
2.7%
2.5%
1.8%
1.7%
1.6%
1.6%
1.6%
1.3%
1.3%
0.8%
0.8%
0.8%
0.8%
0.8%
0.7%
0.7%
0.7%
0.6%
0.5%
0.5%
0.5%
0.4%
0.3%
0.3%
0.3%
0.2%
0.2%
0.2%
0.2%
0.1%
0.1%
0.1%
<0.1%
<0.1%
<0.1%
<0.1%
<0.1%
<0.1%
<0.1%
<0.1%
<0.1%
<0.1%
43
Lithuania
44
Ukraine
45
Thailand
46
Paraguay
47
Central America
48
Barbados
49
Ecuador
50
Bulgaria
51
Croatia
<0.1%
52
China
<0.1%
<0.1%
<0.1%
<0.1%
53
54
55
Indonesia
<0.1%
<0.1%
<0.1%
Philippines
South Korea
85
86
Recorded Music
Volume Trend
Figures In Millions
Full-Length Formats
CDs
Music Video
Other
Digital Albums
MCs
2008
9
53
1,329
90
5
113
Total Units
1,599
2008
1,494
2007
6
82
1,545
110
4
64
1,810
2007
1,202
2006
3
114
1,760
120
3
39
2,038
2006
931
2005
4
186
1,938
149
10
18
2,304
2005
582
2004
7
368
2,065
151
13
6
2,609
2004
354
2003
6
492
2,043
154
5
–
2,700
2003
233
2002
8
534
2,190
110
1
–
2,843
2002
265
2001
10
659
2,310
80
1
–
3,060
2001
318
2000
12
736
2,454
12
1
–
3,215
2000
370
1999
14
847
2,411
16
1
–
3,289
1999
440
1998
23
897
2,374
–
–
–
3,294
1998
459
1997
17
1,034
2,232
–
–
–
3,283
1997
516
1996
21
1,188
2,162
–
–
–
3,372
1996
466
1995
33
1,200
1,983
–
–
–
3,216
1995
432
1994
49
1,354
1,784
–
–
–
3,188
1994
390
1993
109
1,382
1,419
–
–
–
2,909
1993
410
1992
175
1,476
1,185
–
–
–
2,836
1992
352
1991
292
1,493
998
–
–
–
2,782
1991
334
1990
339
1,447
777
–
–
–
2,564
1990
344
1989
450
1,540
600
–
–
–
2,590
1989
357
1988
510
1,390
400
–
–
–
2,300
1988
370
1987
590
1,150
260
–
–
–
2,000
1987
390
1986
690
970
140
–
–
–
1,800
1986
490
1985
730
950
61
–
–
–
1,741
1985
650
1984
800
800
20
–
–
–
1,620
1984
750
1983
850
660
6
–
–
–
1,516
1983
800
1982
900
570
–
–
–
–
1,470
1982
680
1981
1,140
510
–
–
–
–
1,650
1981
550
1980
878
474
–
–
–
–
1,352
1980
526
1979
896
470
–
–
–
–
1,365
1979
624
1978
942
428
–
–
–
–
1,370
1978
600
1977
898
374
–
–
–
–
1,272
1977
545
1976
743
289
–
–
–
–
1,032
1976
516
1975
674
236
–
–
–
–
910
1975
483
1974
655
209
–
–
–
–
864
1974
515
1973
617
185
–
–
–
–
802
1973
530
Source: IFPI
Notes: Other includes SACD and DVD-A and other. Digital album volumes are estimates based on information from Media Control GfK, OCC and
Nielsen SoundScan for selected markets. Singles include physical singles and online single tracks. Mobile singles not included. Online single tracks
included from 2004. Figures are estimates based on information from Media Control GfK, OCC and Nielsen SoundScan for selected markets.
86
Singles
LPs
87
Recorded Music
Retail Sales 2008
US$ Millions
Physical
Canada
USA
Digital
Total
475.9
125.0
600.9
5,758.5
2,839.3
8,597.8
Austria
255.3
17.6
272.9
Belgium
236.2
32.7
268.9
Bulgaria
8.5
-
8.5
Croatia
20.3
-
20.3
Czech Republic
Denmark
55.9
3.5
59.4
146.8
32.5
179.3
Finland
130.0
6.8
136.8
France
1,271.9
287.7
1,559.6
Germany
2,172.0
183.4
2,355.4
Greece
129.4
10.5
139.9
Hungary
39.2
2.0
41.2
416.3
46.5
462.8
Italy
Netherlands
351.4
22.1
373.5
Norway
195.9
16.8
212.7
Poland
159.5
7.8
167.3
86.7
8.1
94.8
395.2
15.0
410.2
Portugal
Russia
Slovakia
Spain
8.5
-
8.5
356.1
53.8
409.9
Sweden
197.8
17.9
215.7
Switzerland
223.6
20.0
243.6
Turkey
103.2
1.1
104.3
2,045.8
384.5
2,430.3
China
47.3
135.7
183.0
Hong Kong
50.9
17.9
68.8
125.3
79.0
204.3
UK
India
Indonesia
32.4
79.6
112.0
4,560.5
1,040.2
5,600.7
Malaysia
19.5
17.0
36.5
Philippines
17.0
5.5
22.5
Japan
Singapore
25.3
3.6
28.9
South Korea
81.4
213.4
294.8
Taiwan
54.6
20.4
75.0
Thailand
61.2
65.3
126.5
Australia
496.9
81.5
578.4
81.2
8.8
90.0
Argentina
115.1
5.2
120.3
Brazil
328.3
New Zealand
268.7
59.6
Central America
14.5
6.3
20.8
Chile
20.4
8.4
28.8
Colombia
45.2
12.6
57.8
Ecuador
2.5
-
2.5
202.2
29.3
231.5
Mexico
Peru
2.4
-
2.4
Uruguay
7.6
-
7.6
Venezuela
South Africa
Global
27.8
2.1
29.9
170.7
6.7
177.4
21,770.5
6,054.0
27,824.6
Notes: For formats included please refer to the notes section. USA physical retail revenues are suggested list prices.
87
88
Digital Share
By Market 2004 – 2008
2004
2005
Canada
0.3%
2.7%
US
2.9%
9.1%
Austria
0.9%
3.1%
Belgium
0.5%
1.9%
New Zealand
-
-
South Africa
-
0.4%
2006
5.8%
16.8%
5.5%
6.0%
3.7%
6.0%
2.4%
6.3%
4.9%
6.1%
1.6%
6.2%
3.6%
3.7%
0.5%
4.2%
0.4%
5.2%
5.8%
3.3%
0.1%
6.0%
36.2%
7.5%
8.7%
31.3%
11.0%
17.5%
3.9%
3.7%
55.9%
6.6%
20.2%
2.0%
2.3%
1.1%
4.4%
4.8%
0.1%
3.6%
0.1%
5.3%
4.4%
1.6%
1.9%
-
5.5%
2.4%
10.7%
5.2%
15.2%
7.1%
20.5%
10.3%
Asia
-
6.3%
13.3%
17.9%
22.3%
Latin America
-
0.4%
2.9%
7.8%
12.1%
Asia excl. Japan
-
-
25.4%
29.0%
36.6%
North America
-
8.6%
16.0%
24.0%
34.2%
Top 20
2.0%
2.0%
5.7%
10.9%
15.6%
Others
0.4%
0.4%
1.9%
8.3%
10.1%
Czech Republic
-
-
Denmark
-
1.4%
Finland
-
-
France
1.3%
2.2%
Germany
1.0%
2.7%
Greece
-
-
Hungary
-
-
Italy
0.8%
3.7%
Netherlands
0.4%
2.0%
Norway
-
1.3%
Poland
-
-
Portugal
-
-
Romania
-
-
Russia
-
-
Spain
0.5%
1.1%
Sweden
0.1%
2.1%
Switzerland
-
1.5%
Turkey
-
-
0.8%
3.2%
China
-
-
Hong Kong
-
-
India
-
-
Indonesia
-
-
3.2%
7.5%
Malaysia
-
-
Philippines
-
-
Singapore
-
-
South Korea
-
-
Taiwan
-
-
Thailand
-
-
Argentina
-
-
Brazil
-
0.6%
Central America
-
-
Chile
-
-
Colombia
-
-
Ecuador
-
-
Mexico
-
0.2%
UK
Japan
Venezuela
Australia
Global
Europe
Source: IFPI
Basis: Trade values
88
-
-
0.2%
1.8%
2007
10.7%
2008
16.9%
25.0%
35.8%
2.1%
2.8%
5.9%
6.9%
6.6%
10.3%
5.4%
5.0%
9.7%
15.6%
3.8%
4.6%
8.7%
15.3%
6.6%
7.6%
7.5%
9.7%
2.8%
3.7%
7.2%
8.9%
4.1%
5.6%
5.8%
8.7%
2.7%
3.9%
4.9%
6.3%
12.1%
38.1%
1.5%
3.4%
8.2%
9.6%
6.6%
7.6%
5.8%
6.9%
0.5%
3.0%
8.4%
13.7%
45.7%
61.5%
10.4%
12.9%
16.5%
20.6%
41.1%
54.3%
16.1%
20.0%
17.6%
24.6%
6.5%
14.7%
3.6%
6.0%
60.8%
59.9%
11.5%
13.8%
23.5%
36.6%
3.4%
4.2%
8.1%
13.4%
8.0%
25.5%
11.2%
22.1%
14.5%
21.4%
0.0%
0.0%
8.3%
10.8%
4.5%
5.1%
8.0%
13.1%
6.7%
8.8%
89
Physical Market
Repertoire Origin 2008
By Value
Domestic
International
Argentina
37%
58%
Australia
22%
54%
Austria
6%
56%
Belgium
10%
62%
Brazil
65%
32%
Canada
20%
67%
Central America
4%
88%
Chile
12%
84%
China
19%
61%
Colombia
32%
49%
Croatia
54%
34%
Czech Republic
63%
28%
Denmark
46%
43%
Ecuador
1%
89%
Finland
48%
37%
France
57%
34%
Germany
52%
31%
Greece
69%
28%
Hong Kong
31%
47%
Hungary
40%
49%
India
74%
5%
Indonesia
67%
33%
Italy
52%
36%
Japan
80%
20%
Malaysia
11%
74%
Mexico
42%
47%
Netherlands
28%
56%
New Zealand
10%
90%
Norway
35%
45%
Peru
11%
78%
Philippines
34%
42%
Poland
24%
41%
Portugal
36%
36%
Russia
72%
25%
Singapore
1%
72%
Slovakia
53%
36%
South Africa
43%
57%
South Korea
49%
25%
Spain
40%
41%
Sweden
32%
43%
Switzerland
10%
69%
Taiwan
38%
42%
Thailand
72%
28%
Turkey
73%
27%
UK
36%
38%
Uruguay
35%
63%
USA
93%
5%
Classical
5%
6%
11%
5%
3%
2%
4%
2%
15%
1%
3%
4%
5%
3%
6%
9%
6%
2%
11%
11%
0%
–
4%
–
2%
2%
4%
–
4%
5%
1%
9%
3%
3%
6%
2%
–
18%
5%
2%
5%
12%
–
–
4%
2%
2%
Compilations
0%
18%
27%
22%
–
11%
4%
2%
4%
18%
9%
5%
6%
7%
10%
–
11%
–
11%
–
20%
–
8%
–
13%
9%
12%
–
16%
5%
23%
27%
25%
–
21%
10%
–
9%
14%
23%
17%
8%
–
–
22%
–
–
Source: IFPI
Notes: Digital sales not included. International repertoire can include regional repertoire. Italy: Jazz included in classical. Canada, Chile, Belgium,
Hungary, Indonesia, Malaysia, Netherlands, Philippines, South Korea, Switzerland, UK : based on artist nationality. France: Based on language.
Japan: Classical share included in domestic/international. UK: Figures based on units. Canada figures based on top 200 albums chart.
89
90
Certification
Award Levels
Albums
(unit sales required)
North America
Canada
USA
Europe
Austria
Belgium
Bulgaria
Croatia
Czech Republic
Denmark
Finland
France
Germany
Greece
Hungary
Iceland
Ireland
Italy
Latvia
Netherlands
Norway
Poland
Portugal
Russia
Slovakia
Slovenia
Spain
Sweden
Switzerland
Turkey
UK
Ukraine
Asia
Silver
–
–
–
–
–
3,000
–
–
–
35,000
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
60,000
–
Diamond
Silver
International Repertoire
Platinum
Gold
40,000
500,000
80,000
1,000,000
100,000
10,000,000
–
–
s
s
10,000
10,000
15,000
7,500
6,000
15,000
15,000
75,000
100,000
15,000
7,500
5,000
7,500
35,000
8,000
30,000
15,000
15,000
10,000
50,000
3,000
5,000
40,000
20,000
15,000
100,000
100,000
50,000
20,000
20,000
30,000
15,000
12,000
30,000
30,000
200,000
200,000
30,000
15,000
10,000
15,000
70,000
15,000
60,000
30,000
30,000
20,000
100,000
6,000
10,000
80,000
40,000
30,000
200,000
300,000
100,000
–
–
–
30,000
–
–
–
750,000
–
–
–
–
–
350,000
–
–
–
150,000
–
300,000
–
–
–
–
–
300,000
–
500,000
–
–
–
s
–
–
–
s
–
–
–
–
s
s
–
–
–
–
–
–
–
–
–
–
–
–
s
–
s
15,000
10,000
s
3,000
s
10,000
s
s
5,000
3,000
s
s
s
4,000
s
s
10,000
s
10,000
1,000
s
s
s
s
–
s
25,000
s
30,000
20,000
s
6,000
s
20,000
s
s
10,000
6,000
s
s
s
8,000
s
s
20,000
s
20,000
2,000
s
s
s
s
–
s
50,000
15,000
7,500
7,500
10,000
s
10,000
10,000
6,000
5,000
7,000
6,000
30,000
15,000
15,000
15,000
s
20,000
20,000
12,000
10,000
14,000
12,000
China
Hong Kong
India
Indonesia
Japan
Malaysia
Philippines
Singapore
South Korea
Taiwan
Thailand
–
–
–
–
–
–
–
–
–
–
–
40,000
15,000
100,000
35,000
100,000
10,000
15,000
6,000
–
20,000
50,000
80,000
30,000
200,000
75,000
250,000
20,000
30,000
12,000
–
40,000
100,000
–
–
–
–
1,000,000
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
Australia
New Zealand
–
–
35,000
7,500
70,000
15,000
–
–
–
–
Argentina
Brazil
Chile
Colombia
Ecuador
Mexico
Paraguay
Peru
Uruguay
Venezuela
–
–
–
–
–
–
–
–
–
–
20,000
50,000
7,500
10,000
3,000
40,000
5,000
3,000
2,000
5,000
40,000
100,000
15,000
20,000
6,000
80,000
10,000
6,000
4,000
10,000
South Africa
–
20,000
40,000
–
–
s
Gulf States
Egypt
Lebanon
–
–
–
10,000
25,000
20,000
20,000
50,000
40,000
–
–
–
–
–
–
s
5,000
5,000
Australasia
Latin America
Africa
Middle East
Notes
‘s’ indicates same levels for both domestic and
international repertoire.
Finland ,Germany, Norway, Sweden, UK &
USA: Digital album sales can be included for
certification.
USA: Levels for Latin repertoire = 50,000 for
Gold & 100,000 for Platinum.
90
Domestic Repertoire
Platinum
Gold
Middle East: Domestic repertoire = Arab
repertoire
China: For regional repertoire levels are 75,000
for Gold & 150,000 for Platinum.
250,000
500,000
–
–
–
400,000
–
–
–
–
–
–
–
–
–
–
–
–
–
–
s
s
s
30,000
s
5,000
s
s
s
s
s
s
Belgium: Domestic repertoire is divided into
non-Dutch/French repertoire and French/Dutch
repertoire and award levels vary. Different levels
for classical and jazz repertoire. Please contact
BEA for further information.
s
s
s
s
s
60,000
s
10,000
s
s
s
s
s
s
s
s
10,000
10,000
Diamond
s
s
–
–
–
s
–
–
–
s
–
–
–
–
–
s
–
–
–
100,000
–
60,000
–
–
–
–
–
–
–
100,000
–
–
–
–
–
–
–
–
–
–
–
–
–
–
250,000
s
–
–
s
s
–
–
–
–
–
–
–
Netherlands: For jazz and classical repertoire
the respective levels are 10,000/20,000 for
Gold/Platinum.
Hungary: Classical/Jazz/World Music/Proze
levels are 1500/3000 (regardless of origin).
91
Music Videos
Singles
North America
Gold
Platinum
Diamond
Canada
USA
5,000
50,000
10,000
100,000
100,000
–
Austria
Belgium
Czech Republic
Denmark
Finland
France
Germany
Greece
Hungary
Iceland
Ireland
Italy
Latvia
Netherlands
Norway
Poland
Portugal
Russia
Slovakia
Spain
Sweden
UK
5,000
25,000
1,500
7,500
5,000
10,000
25,000
5,000
2,000
5,000
2,000
10,000
5,000
40,000
5,000
5,000
4,000
25,000
500
10,000
10,000
25,000
10,000
50,000
3,000
15,000
10,000
20,000
50,000
10,000
4,000
10,000
4,000
20,000
8,000
80,000
10,000
10,000
8,000
50,000
1,000
25,000
20,000
50,000
–
–
–
–
–
100,000
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
100,000
250,000
1,000,000
7,500
2,500
15,000
5,000
–
–
4,000
25,000
5,000
10,000
1,000
8,000
50,000
10,000
20,000
2,000
–
100,000
–
–
–
Europe
Asia
Japan
Australasia
Australia
New Zealand
Latin America
Argentina
Brazil
Colombia
Mexico
Uruguay
Notes
Brazil: Figures shown are for domestic repertoire. For international repertoire gold,
platinum & diamond are 15,000, 30,000 and 125,000 respectively.
Silver
Gold
Platinum
Diamond
–
–
5,000
500,000
10,000
1,000,000
100,000
–
–
–
–
–
100,000
–
–
–
–
–
–
–
–
–
–
–
–
200,000
15,000
10,000
1,000
5,000
200,000
150,000
5,000
1,500
7,500
10,000
3,000
25,000
5,000
10,000
20,000
10,000
15,000
400,000
30,000
20,000
2,000
10,000
300,000
300,000
10,000
3,000
15,000
20,000
6,000
50,000
10,000
20,000
40,000
20,000
30,000
600,000
–
–
–
–
500,000
–
–
–
–
–
–
–
–
–
–
–
–
–
Japan
Singapore
Taiwan
Thailand
–
–
–
–
100,000
5,000
7,000
50,000
250,000
10,000
14,000
100,000
1,000,000
–
–
–
Australia
New Zealand
–
35,000
5,000
70,000
10,000
–
South Africa
–
10,000
25,000
–
North America
Canada
USA
Europe
Austria
Belgium
Czech Republic
Finland
France
Germany
Greece
Hungary
Ireland
Italy
Lithuania
Netherlands
Norway
Portugal
Spain
Sweden
Switzerland
UK
Asia
Australasia
Africa
Notes
Belgium: Figures in table indicate domestic repertoire singles; levels for international repertoire are
Gold 15,000 and Platinum 30,000.
Thailand: Figures in table indicate domestic repertoire singles; levels for international repertoire are
Gold 20,000 and Platinum 40,000.
Denmark, Finland, Germany, Italy, Norway, Sweden & UK: Digital single sales can be included
for certification.
Digital Download Singles
Master Ringtones
Argentina
Brazil
Canada
Denmark
Egypt
Japan
Mexico
Spain
USA
Gold
10,000
50,000
20,000
15,000
20,000
100,000
40,000
20,000
500,000
Platinum Diamond
20,000
–
100,000
500,000
40,000
400,000
30,000
–
40,000
–
250,000 1,000,000*
80,000
400,000
40,000
–
1,000,000
–
Notes
Brazil: Figures refer to domestic repertoire. For international repertoire the levels
are 30,000/60,000/250,000 respectively.
* ‘Million’ award.
Argentina
Brazil
Canada
Egypt
Japan*
Mexico
USA
Gold
10,000
50,000
20,000
20,000
–
40,000
500,000
Platinum Diamond
20,000
–
100,000
500,000
40,000
400,000
40,000
–
–
1,000,000
80,000
400,000
1,000,000
–
Notes
Brazil: Figures refer to domestic repertoire. For international repertoire the levels
are 30,000/60,000/250,000 respectively.
* Awards start at 500,000 - called ‘double platinum’.
91
92
Local Music Industry
Association Contacts
North America
Canada
Canadian Recording Industry
Association (CRIA)
85 Mowat Avenue
Toronto ON M6K 3E3
Tel: +1 (416) 967 7272
Fax: +1 (416) 967 9415
info@cria.ca
www.cria.ca
USA
Recording Industry Association
of America (RIAA)
1025 F. Street, NW
10th Floor
Washington, D.C. 20004
Tel: +1 202 775 0101
Fax: +1 202 775 7253
www.riaa.com
Europe
Austria
IFPI Austria - Verband der
Osterreichischen Musikwirtschaft
Schreyvogelgasse 2/5
A-1010 Vienna
Tel: +43 (1) 535 6035
Fax: +43 (1) 535 5191
ifpi@ifpi.at
www.ifpi.at
Belgium
Belgian Entertainment
Association (BEA)
Place de l’Alma 3 Bte 2
1200 Brussels
Belgium
Tel: +32 2 779 4174
Fax: +32 (2) 779 1669
bea@belgianentertainment.be
www.belgianentertainment.be
Bulgaria
Bulgarian Association of
Music Producers (BAMP)
8, Mitropolit Kiril Vidinski Str.
fl. 3, apt 3
1164 Sofia
Tel: +359 2 963 2757
Fax: +359 2 866 0104
office@bamp-bg.org
www.bamp-bg.org
Croatia
Croatian Phonographic
Association (HDU)
Brozova 8 A
1000 Zagreb
Tel: +385 1 3668 194
Fax: +385 1 3668 072
hdu@hdu.hr
www.hdu.hr
92
Czech Republic
IFPI Czech Republic
Na Kozacce 7
CZ-120 00
Prague 2
Tel: +420 2 2150 7624
Fax: +420 (221) 507 673
ifpicr@ifpicr.cz
www.ifpicr.cz
Hungary
Magyar Hanglemezkiadók
Szövetsége (MAHASZ)
Harcos tér 5
Budapest, 1113
Tel: +36 (1) 391 4200
Fax: +36 (1) 200 2679
info@mahasz.hu
www.mahasz.hu
Portugal
Associação Fonográfica
Portuguesa (AFP)
Av. Sidónio Pais, 20 - R/C DT°
1050-215 Lisbon
Tel: +351 (213) 156 655
Fax: +351 (213) 156 683
contactar@afp.org.pt
www.afp.org.pt
Denmark
IFPI Denmark c/o:
Johan Schlüter Advokatfirma
Højbro Plads 10
DK-1200 Kobenhavn K
Tel: +45 32 71 20 80
Fax: +45 32 71 21 00
info@ifpi.dk
www.musik.org / www.ifpi.dk
Ireland
Irish Recorded Music
Association (IRMA)
Irma House, 1 Corrig Avenue
Dun Laoghaire, Co.Dublin
Tel: +353 0 (1) 280 6571
Fax: +353 0 (1) 280 6579
irma_info@irma.ie
www.irma.ie
Romania
Uniunea Producatorilor de
Fonograme din România (UPFR)
Blvd Nicolae Titulescu, nr. 88b
Sector 1, Bucharest
Tel: +40 21 222 20 45
Fax: +40 21. 222.20.43
www.upfr.ro
Estonia
Eesti Fonogrammitootjate Ühing
(EFU)
Endla 3- 6101
10122 Tallinn
Tel: +372 6307 210
Fax: +372 6307 296
efy@efy.ee
www.efy.ee
Italy
Federazione Industria Musicale
Italiana (FIMI)
Galleria del Corso 4
20122 Milano
Tel: +390 (2) 795 879
Fax: +390 (2) 799 673
info@fimi.it
www.fimi.it
Finland
IFPI Finland
Yrjonkatu 3B
00120 Helsinki
Tel: +358 (9) 6803 4050
Fax: +358 (9) 6803 4055
ifpi@ifpi.fi
www.ifpi.fi
Latvia
The Latvian Association Of
Performers And Producers
Riga Mukusales 42
LV-1004
Tel: 00 371 67605023
Fax: 00 371 67500039
laipa@laipa.org
www.laipa.org
France
Syndicat National de l’Edition
Phonographique (SNEP)
131 boulevard de Sébastopol
75002 Paris
Tel: +33 (1) 4413 6666
Fax: +33 (1) 5376 0733
contactsnep@snepmusique.com
www.disqueenfrance.com
Germany
Bundesverband Musikindustrie
e.V.
Oranienburger Strasse 67/68
D-10117 Berlin
Tel: +49 30 590 0380
Fax: +49 30 590 03838
info@musikindustrie.de
www.musikindustrie.de
Greece
IFPI Greece
65 Aristotelous Street
Halandri 15232
Tel: +30 2 10 685 1739
Fax: +30 2 10 68 01 660
info@ifpi.gr
www.ifpi.gr
Netherlands
Nederlandse Vereniging van
Producenten en Importeurs van
beeld-en geluidsdragers (NVPI)
Albertus Perkstraat 36
1217 NT Hilversum
Tel: +31 (35) 625 4411
Fax: +31 (35) 625 4410
info@nvpi.nl
www.nvpi.nl
Norway
IFPI Norway
Sandakervn. 52
0477 Oslo
Tel: +47 (22) 221 788
Fax: +47 (22)22 17 68
ifpi@ifpi.no
www.ifpi.no
Poland
Zwiazek Producentow Audio
Video (ZPAV)
12/2 Kruczkowskiego Street
00-380 Warsaw
Tel: +48 (22) 625 69 66
Fax: +48 (22) 625 16 61
biuro@zpav.pl
www.zpav.pl
Slovak Republic
IFPI Slovak Republic
Jakubovo nám. 14
813 48 Bratislava
Tel: +421 (0) 2 5292 3886
Fax: +421 (0) 2 5292 3886
ifpi@ifpi.sk
www.ifpi.sk
Spain
Productores de Musica de
España (Promusicae)
Edificio Iberia Mart II
Calle Orense, 34- 8ª
28020 Madrid
Tel: +34 (91) 417 04 70
Fax: +34 (91) 556 92 72
promusicae@promusicae.es
www.promusicae.es
Sweden
IFPI Svenska Gruppen (IFPI
Sweden)
Tegnérgatan 34 Box 1429
111 84 Stockholm
Tel: +46 (8) 735 9750
Fax: +46 (8) 273 745
info@ifpi.se
www.ifpi.se
Switzerland
Schweizer Landesgruppe der IFPI
(IFPI Switzerland)
Toblerstrasse 76A
CH 8044 Zurich
Tel: +41 (0) 252 5866
Fax: +41 (0) 252 6167
info@ifpi.ch
www.ifpi.ch
Turkey
Baglantılı Hak Sahibi Fonogram
(Mü-YAP)
Kuloglu Mah, Turnacibasi Fok
No: 16, Kat; 5
80070 Beyoglu Istanbul
Tel: +90 (212) 292 46 13 /14/15/16
Fax: +90 (212) 292 46 17
disiliskiler@mu-yap.org
www.mu-yap.org
93
United Kingdom
British Phonographic
Industry (BPI)
Riverside Building, County Hall
Westminster Bridge Road
London SE1 7JA
Tel: 020 7803 1300
Fax: 020 7803 1310
general@bpi.co.uk
www.bpi.co.uk
Philippines
Philippine Association of the
Record Industry (PARI)
Suite 207 Greenhills Mansion
37 Annapolis St., Greenhills
San Juan, Metro Manila
Tel: +63(2) 725 0770
Fax: +63(2) 725 0786
writeus@pari.com.ph
www.pari.com.ph
Asia
Singapore
Recording Industry
Association Singapore (RIAS)
4 Leng Kee Road
#03-07 SiS Building
Singapore 159088
Tel: +65 (6220) 4166
Fax: +65 (6220) 9452
info@rias.org.sg
www.rias.org.sg
China
Please contact Asia office
Hong Kong
IFPI Hong Kong Group Ltd
16/F Guardian House
32 Oi Kwan Road,
Wanchai
Tel: (+852) 2865 5863
Fax: (+852) 2866 6859
main@ifpihk.org
www.ifpihk.org
India
The Indian Music Industry (IMI)
Crescent Towers,
7th Floor, B-68, Veera Estate,
Off New Link Road, Andheri (W),
Mumbai - 400 053
Tel: 91 22 26736301/02/03
Fax: 91 22 26736304
infoimi@indianmi.org
www.indianmi.org
Indonesia
Japan
Recording Industry
Association of Japan (RIAJ)
11F, Kita-Aoyama Yoshikawa Bldg
2-12-16 Kita-Aoyama Minato-ku
Tokyo 107-0061
Tel: +81 (3) 6406 0510
Fax: +81 (3) 6406 0520
info@riaj.or.jp
www.riaj.or.jp
Malaysia
of Malaysia (RIM)
No. L-8-2, 8th Floor, Block L
No.2, Jalan Solaris
Solaris Mont’Kiara
50480 Kuala Lumpur
Tel: +603 6207 2800
Fax: +603 6207 2900
info@rim.org.my
www.rim.org.my
South Korea
Taiwan
Recording Industry
Foundation in Taiwan
4F, No.85, Sec. 4, Bade Road
Sungshan Chiu 105 Taipei
Tel: +886 (2) 2718 8818
Fax: +886 (2) 2528 1998
info@ifpi.org.tw
www.ifpi.org.tw
Thailand
Thai Entertainment Content
Trade Association (TECA)
23/17-18 Soi Soonvijai,
Rama 9 Road
Bangkapi Sub-District
Huay-Kwang District
10320 Bangkok
Tel: +662 203 1002/3
Fax: +662 203 1010
ifpithai@teca.co.th
www.teca.co.th
Australasia
Australia
Australian Recording Industry
Association (ARIA)
Level 4, 19 Harris Street, Pyrmont
2009 NSW
Tel: +61 2 8569 1144
Fax: +61 2 8569 1181
aria.mail@aria.com.au
www.aria.com.au
New Zealand
of New Zealand (RIANZ)
Private Bag 78 850
Grey Lynn, Auckland
Tel: +64 9 360 5085
Fax: +64 9 360 5086
music@rianz.org.nz
www.rianz.org.nz
Latin America
Argentina
Cámara Argentina de
Productores de Fonogramas y
Videogramas (CAPIF)
Lavalle 534, Piso 4
C1047AAL Buenos Aires
Tel: +54 11 4326 6464
Fax: +54 11 4326 7830
capif@capif.org.ar
www.capif.org.ar
Brazil
Associação Brasileira de
Produtores de Disco (ABPD)
Av. das Américas, 500 Bloco 11
Sala 204
Barra da Tijuca - Rio de Janeiro RJ
22640-100
Tel: +55 21 3511 9908
Fax: +55 - 21 3511 9907
abpd@abpd.org.br
www.abpd.org.br
Central America
Please contact Latin America office
Chile
IFPI Chile
Av Antonio Varas No 2043
Providencia, Santiago
Tel: +56 2 379 3890
Fax: +56 2 434 0015
mfuentes@ifpichile.cl
www.ifpichile.cl
Colombia
APDIF Colombia
Carrera 14, No. 94 A - 10 - Oficina 402
Edificio Chico 94 A
Bogotá D.C.
Tel: +57 (1) 622 7363
Fax: +57 (1) 612 0310
apdif@apdifcolombia.com
www.apdifcolombia.com
Ecuador
Mexico
Asociacion Mexicana de
Productores de Fonogramas y
Videogramas A.C.(Amprofon)
Lafontaine 42
Col. Polanco Chapultepec
C.P.11560 Mexico D.F.
Tel: +52 5 55281 6035/38
Fax: +52 5 55280 9079
amprofon@amprofon.com.mx
www.amprofon.com.mx
Paraguay
Peru
Uruguay
Venezuela
Asociacion de Productores
Fonograficos de Venezuela
Av. Principal de los Cortijos de
Lourdes, Piso 3
Edificio Los Hermanos, Caracas
Tel: +58 212 238 0044
Africa & Middle East
Israel
IFPI Israel
10 Habonim Street
Ramat Gan 52462
Tel: +972 (3) 613 0715 /613 0716
Fax: +972 (3) 575 6747
www.ifpi.co.il
South Africa
The Recording Industry
of South Africa (RISA)
P O Box 367
Randburg 2194
Tel: +27 11 886 1342
Fax: +27 11 886 4169
david@risa.org.za
www.risa.org.za
Regional Offices
Head Office
IFPI London
10 Piccadilly
London W1J 0DD UK
Tel: +44 (0)20 7878 7900
Fax: +44 (0)20 7878 7950
info@ifpi.org
www.ifpi.org
European Office
IFPI Europe
Square de Meeûs 40
1000 Brussels, Belgium
Tel: +32 (0)2 511 9208
Fax: +32 (0)2 502 3077
euroinfo@ifpi.org
Latin America Office
IFPI Latin America
10451 NW 117th Avenue
Suite 105, Miami
Florida 33178
USA
Tel: +1 305 567 0861
Fax: +1 305 567 0871
Asia Office
IFPI Asia
16/F Guardian House
32 Oi Kwan Road, Wanchai
Hong Kong
Tel: +852 2 866 6862
Fax: +852 2865 6326
info@ifpi-asia.com.hk
93
94
Taxes On Sound Recordings
& Exchange Rates 2008
country
NORTH AMERICA
Canada
Jamaica
USA
EUROPE
Austria
Belgium
Bulgaria
Croatia
Cyprus
Czech Republic
Denmark
Estonia
Finland
France
Germany
Greece
Hungary
Iceland
Ireland
Italy
Latvia
Lithuania
Netherlands
Norway
Poland
Portugal
Romania
Russia
Slovakia
Slovenia
Spain
Sweden
Switzerland
Turkey
UK
Ukraine
ASIA
China
Hong Kong
India
Indonesia
Japan
Malaysia
Pakistan
Philippines
Singapore
South Korea
Taiwan
Thailand
SALES TAX
6%
15%
2% – 9%
20%
21%
20%
22%
15%
22%
25%
18%
22%
19.6%
16%
19%
20%
7%
21%
20%
18%
18%
19%
25%
22%
21%
19%
18%
19%
20%
16%
25%
7.6%
18%
15%
20%
17%
–
4% – 12.5%
10%
5%
10%
16%
12%
7%
10%
5%
7%
IMPORT TAX
Up to 12%
45%
–
20%
–
3.5%
–
–
–
–
3.5%
22%
–
–
Variable
–
10%
Variable
20%
–
–
–
–
22%
–
9%
5%
–
2%
16%
4%
–
–
–
Variable
17%
–
17.3%
20%
–
30%
–
10%
–
8%
–
30%
country
LATIN AMERICA
Argentina
Brazil
Chile
Colombia
Ecuador
Mexico
Paraguay
Peru
Uruguay
Venezuela
AUSTRALASIA
Australia
New Zealand
SALES TAX
IMPORT TAX
21%
15% – 18%
18%
16%
10%
15%
10%
18%
23%
14.5%
16%
16%
10%
15%
15.6%
–
9%
12%
15%
–
US$ Exchange Rates
Country
3.17
Australia
1.20
Austria
0.68
Belgium
0.68
Brazil
1.84
Canada
Chile
China
Colombia
Czech Republic
10%
12.5%
–
–
Middle EAST
Bahrain
Egypt
Israel
Kuwait
Lebanon
Qatar
Saudi Arabia
UAE
–
10%
17%
–
10%
–
–
–
10%
70%
2.5% – 5%
4%
5%
4%
5%
4%
AFRICA
South Africa
Zimbabwe
14%
15%
–
–
6.96
1,990.6
17.10
5.10
Finland
0.68
France
0.68
Germany
0.68
Greece
0.68
Hong Kong
Hungary
India
Indonesia
Ireland
Italy
Japan
Mexico
7.79
172.70
43.82
9,684.9
0.68
0.68
103.47
3.34
11.17
Netherlands
0.68
New Zealand
1.43
Norway
Philippines
5.65
44.57
Poland
2.41
Portugal
0.68
Romania
Russia
Singapore
2.53
24.87
1.42
South Africa
8.28
South Korea
1,102.8
Spain
0.68
Sweden
6.59
Switzerland
1.08
Taiwan
31.56
Thailand
33.27
Turkey
1.31
UK
0.55
USA
1.00
Venezuela
2.15
Source: Oanda
94
1.07
523.92
Denmark
Malaysia
Notes
Canada: Federal tax reduced to 6% Jul 06; provincial tax varies
USA: Sales tax varies by state
Austria: Import tax for non-EU territories
Bulgaria: Import tax for non-EU territories
Finland: Import tax for non-EU territories
Greece: Import tax for non-EU territories
Iceland: Sales tax reduced from 24.5% in Nov 06
Ireland: Import tax for non-EU territories
Italy: Import tax for non-EU territories
Slovenia: Import tax for non-EU territories
Spain: Import tax for non-EU territories
Switzerland: Import tax for non-EU territories is CHF 27.- per 100 kg
India: Import tax for CDs
Chile: Import tax not applicable to Mexico, 5% to Mercosur territories
Uruguay: Import tax applicable to non-Mercosur territories
Egypt: 55% customs duty not included in import tax
Israel: 2.5% for MCs and 5% for CDs applicable to non-EU territories
and USA
Lebanon: No import tax on CDs and DVDs
Rate
Argentina
95
Notes
95
96
Notes
96

Recorded Music

Transcription

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