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December 21, 2018 – Consumption By Genre: How Different Fans Consume Music
As tastes among music fans continue to diversify, it is becoming increasingly difficult to group consumers by their favorite genres. How can marketers analyze such diverse audiences to create actionable insights to inform tailored marketing messages? In a companion to their September 2018 report, "Audiomonitor 2018: The Overall Music Listening Landscape," AudienceNet identifies different music fans, measuring their music listening, spending and discovery behaviors, in an attempt to create a more detailed picture of how different fans consume their favorite music.
September 14, 2018 – Music Consumption: The Overall Landscape 2018
Now in its third year, “Music Consumption: The Overall Landscape” provides a democratic measure of all audio consumption in the United States in a report prepared by Music Biz research partner AudienceNet. The report investigates audiences and tracks their behaviors across a range of topics, including music discovery and spending, paid uptake, usage and perceptions of music streaming services and the role of playlisting in music discovery. It is, therefore, an invaluable tool for any company or person operating within music, and the creative industries at large. This year’s report also features a brand-new investigation of smart speakers, measuring their adoption rates, use and overall impact on music consumption.
November 16, 2017 – Live Music Consumers: Who Are They?
“Who Are Live Music Attendees?” top-line report shows that concert tickets drive higher spending than any other music-related product examined in the survey, with 84% of concert-goers spending over $40 on tickets and 54% of those spending over $100. Similarly, 73% of festival attendees spent at least $40 on tickets and 42% of those spent over $100. In addition, live music fans are willing to travel long distances to see their favorite performers or attend festivals, with 40% of concert ticket-buyers saying they would travel over 1,000 miles for a show and 50% saying the same for festivals. Overall, 17% of the U.S. population bought a concert ticket in the last six months, while 7% bought a ticket to a music festival over the same time frame. Younger respondents were more likely to attend in both cases.
September 14, 2017 – Music Consumption: The Overall Landscape 2017
As new ways of listening start to fuel an economic recovery for the music industry, they are also reshaping the way listeners discover and consume music, and in turn, this is impacting the way the music industry operates. As a result, all working in music, whether it be management, publishing, broadcasting or retail, must keep track of the constant changes in consumer audio consumption, understand how these changes may impact the industry as a whole, and utilize this knowledge to continue to adapt. The report, ‘Music Consumption: The Overall Landscape’, prepared by AudienceNet/LOOP and now in its 2nd year, encapsulates a democratic measure of audio consumption in the US, and sees a statistically and demographically representative sample of the 16+ population answer a set questions about their listening and music consumption habits. This leads to robust profiles, in terms of demographics and psychographics, of listeners across all formats, platforms and devices, and an investigation into the significance of changes to music consumption. It is, therefore, an invaluable tool for any company or person operating within radio or music, and the creative industries at large.
November 7, 2016 – The Topliner Series: In-Car Listening
Traditional terrestrial radio, after years of maintaining its stance as the dominant in-car music provider, still rules the listenership throne. It is, however, seeing its grip loosening with the advent of satellite radio (Sirius XM) and music streaming services such as Pandora becoming increasingly available in ‘connected-cars’ – those equipped with 4G wireless broadband technology. Importantly, understanding the current in-car listener is crucial when predicting how their listening behavior may change in years to come. This report, compiled by Lots Of OnlinePeople (LOOP), profiles these listeners, and looks at their current habits alongside their perceptions of developing technology, such as in-car music streaming and in-car mobile connections.
October 20, 2016 – The Topliner Series: Music Gifting
Gifting has always been an important driver of sales, particularly in the run up to the busiest sales season of all, Christmas. But the transition to digital has presented the industry with a challenge in how to migrate the gifting of physical products into the digital equivalents. This report compiled by Lots Of Online People (LOOP) presents a detailed overview of the music gift market, broken down by consumer demographics, format, and other music related products, quantifying and comparing the relative size of each gifting product and detailed profiles of gifters and recipients for each.
September 22, 2016 – Music Consumption Landscape
Today, consumers can listen to any music they want, at any time, in any place and in any format, whether it be downloads, radio, streaming, CDs or vinyl and, importantly, that privilege costs far less than it used to, if it costs anything at all. Crucially, the free reign that consumers have over how they access and consume music means that the radio and music industries are totally consumer driven – no one but the audience dictates what music is popular and successful. As a result, everybody in music management, publishing, broadcasting and streaming must keep their finger on the pulse of the constant changes in consumer audio consumption, and how they impact the industry as a whole. The report, ‘Music Consumption: The Overall Landscape’ compiled by Lots Of OnlinePeople (LOOP), encapsulates a democratic measure of audio consumption in the US, and saw a statistically and demographically representative sample of the 15+ US population answer a set of general questions about listening habits. These ranged from share of ear between radio to online sources; to device preferences and piracy behavior; to more detailed questions about playlist use; lean forward / lean back selection; music sharing habits; attitude to pricing; exclusive and hi-res audio and much more. As a result, it uncovers the overall music consumption landscape, how it is changing, and how these changes may reshape the music industry’s macro-environment. It is, therefore, an invaluable tool for any company or person operating within radio or music, and the creative industries at large.
August 2, 2016 – Music Genres: How Different Fans Consumer Music
Many music consumers today, particularly younger generations, are genre agnostic – with better access to a wide range of music than ever before they aren’t limited to what they want to listen to, and social identity (i.e. being a Punk, Goth etc.) is becoming less restrictive musically. For example, today, a punk only listening to punk music and nothing else is becoming increasingly less prevalent. ‘Being cool’ these days is more about finding the latest, greatest and most interesting new music, no matter the genre or era, and sharing it with friends, before they can share it with you. As consumers are harder to group by genre, profiling music fans, and creating reliable actionable insights that inform advertising imagery and messaging becomes difficult – how do you identify and market to an audience with such diverse tastes and interests? This report, compiled by Lots Of Online People (LOOP), first identifies different music fans, and then measures their behavior in relation to music listening, spending and discovery – helping to build a bigger and more detailed picture of how different fans consume music.
July 12, 2016 – Music And Millennials
Millennials are the future of the music industry, with this generation exhibiting next generation digital native behavior and making the transition from dependent digital natives to young professionals with disposable income. Their preference for music streaming, in particular, signifies the coming of a whole new generation of online music consumers. For this generation, music is an experience, an omnipresent soundtrack to their daily lives and interactive social environments. This has resulted in the way they consume music shifting away from traditional methods, all of which have been detailed in this report – alongside analysis of how these shifts in music and media may reshape the listening landscape, and thus the creative industries at large.
November 10, 2011 – Consumer Discovery And Purchasing Behaviors
NARM and The NPD Group released findings of a joint study that examined the ways consumers discover new music. (For the press release, click here.) The report indicates that while music discovery is still vital to the industry, it applies differently to various consumer groups, and it has changed significantly since the organizations last studied the topic in 2007, as television and social media and other digital services have emerged as major influencers.