Earnings Reports
Page: 6
Apple services, the category which encompasses Apple TV+ and Apple Music, saw another slight drop in revenue during the fourth fiscal quarter ending in September.
The category generated $19.2 billion in revenue, down slightly from the $19.6 billion reported during the third fiscal quarter ending in June — a figure that was another decline compared to the record $19.8 billion in sales the services collectively generated during the second quarter. But compared to the previous year, Apple’s FY Q4 services revenue represented a five percent year-over-year increase.
Apple now has more than 900 million paid subscriptions, up from the 860 million reported during Q3, according to Apple CEO Tim Cook.
Accounting for the tech giant’s product sales, Apple brought in $90.1 billion during the quarter — a quarterly record for the company driven by continued iPhone sales. “Our record September quarter results continue to demonstrate our ability to execute effectively in spite of a challenging and volatile macroeconomic backdrop,” Apple CFO Luca Maestri said in announcing the results.
The company’s earnings report comes just days after Apple instituted price hikes across Apple TV+, Apple Music and the Apple One subscription bundle. Apple TV+ — home to Ted Lasso and Severance — now costs $6.99 per month, compared to the $4.99 per month price point the service has maintained since its 2019 launch, while the annual plan for Apple TV+ now costs $69, compared to $49.
Speaking with analysts on the company’s earnings call, Cook said the increased price for Apple TV+ was a reflection of the increase in content available on the streamer. “We’re very focused on originals only, and so we had four or five shows or so in the beginning and priced it quite low,” he said. “We now have a lot more content and are coming out with more each and every month, and so we we increase the price to represent the value of the service.”
Apple Music subscriptions now start at $10.99, making it more expensive than Spotify, while the family plan costs $16.99 per month and the annual plan costs $109.
Apple also quietly updated its App Store rules to require iOS publishers to give the company a 30 percent cut for any boosted, or sponsored, posts purchased within their respective apps. The move has frustrated platforms like Meta, which sells sponsored posts.
This article was originally posted on THR.com.
Universal Music Group on Thursday reported its fifth-straight quarter of revenue gains since its public spinoff from Vivendi last year, increasing revenue 13.3% as its many, varied business divisions helped offset slow-downs in areas sensitive to global economic uncertainty.
On a call with analysts, UMG chairman and chief executive Lucian Grainge attributed the company’s strong quarter — coming amid a downturn in the advertising market — to its diversification strategy. Over Grainge’s 17-years at the helm, UMG has built dominant positions in multiple geographic markets and across nearly every major segment in music, making it less susceptible to “the inevitable ebbs and flows in revenue of any particular business,” he said.
That helped UMG offset a slowdown in ad-supported streaming revenues, which have been hampered by companies spending less amid fears of a recession. Ad-supported streaming revenues for the quarter grew by 5.2% in constant currency compared to the third quarter last year. That’s a slowdown from the second quarter this year when ad-supported revenues grew by 15.6% in constant currency compared to second quarter 2021.
“We noted we would not be immune to a downturn in the advertising market, which is indeed what happened,” Grainge said on the call discussing the company’s earnings for the third quarter, which ended Sept. 30. “The slower growth in the third quarter in ad-supported streaming revenue was offset by growth in so many other areas of our business. From subscription to licensing, live touring to merchandising, to continued growth throughout music publishing.”
Subscription revenues grew by 8.7% from a year ago in constant currency — a measure UMG uses to strip out fluctuations in foreign exchange markets. UMG chief financial officer Boyd Muir said subscriber growth among the digital streaming providers remains healthy and “we have not seen any signs of economic related slowdowns.”
Licensing and other revenue grew by 30.2% in constant currency due to the recovery of live touring in certain European, Latin American and Asian markets where UMG is involved in that business. Merchandising and other revenue grew by over 100% in constant currency compared to the year ago quarter, also helped by growth in touring.
The company saw an $80 million increase in touring revenues in the quarter compared to last year from top selling acts like BTS, BLACKPINK, Ado, INI and Morgan Wallen, executives said.
While a significant contributor to the company’s quarter, touring earns UMG a lower profit margin compared to its other businesses, Muir said.
“As I’ve mentioned before, that’s a very low-margin business — let’s call it, the 8% to 10% kind of area,” Muir said. “Nevertheless, it’s an incredibly important part of our business. And it means that we can actually connect the fan with the artists. So it’s of increasing importance to us as we address the requirements of the super fans.”
Looking to the next quarter, the executives said to expect the company’s adjusted EBITDA (earnings before interest, taxes, depreciation, and amortization) margin, a closely watched metric of profitability, to be flat for the year at around 20.8%.
The company’s stock price closed down 5.61% on Friday (Oct. 28).
French music streaming company Deezer posted revenue of 115 million euros ($112.5 million at the Sept. 30, 2022 exchange rate) in the third quarter, up 13.8% from the prior-year period (11.4% at constant currency), the company announced Thursday. Following the news, Deezer’s stock closed up 0.59% on Friday (Oct. 28).
The quarter was bolstered by a 13.8% improvement in average revenue per user (ARPU) to 3.9 euros ($3.81) from the third quarter of 2021. Deezer attributed the improvement primarily to price increases implemented in France in January 2022 — individual plans increased from 9.99 euros to 10.99 euros per month and family plans climbed from 14.99 euros to 17.99 euros per month.
Other subscription services have followed — or likely will follow — Deezer’s lead in raising prices. Apple’s decision on Monday to raise prices on Apple Music “was extremely good news for us,” said Deezer CEO Jeronimo Folgueira during Thursday’s earnings call.
Folgueira also encouraged by comments made Tuesday by Spotify CEO Daniel Ek about possible price increases in early 2023. “We have been the first ones to raise prices very successfully and now that the competitors follow, obviously that is a good thing for the industry as a whole,” Folgueira said. “It also makes us more competitive once competitors increase prices.”
Folgueira does not expect Deezer to further raise prices in 2023 but he didn’t rule it out, either. “We always remain flexible when it comes to pricing,” he said.
Deezer’s ARPU growth was partially offset by a higher proportion of family plan subscriptions, which carry a higher price than individual plans but allow up to six subscribers per account. At the same time, Deezer saw strong business-to-consumer subscription growth in France, adding 300,000 to 3.4 million in its home markets. The ARPU gain more than compensated for a 2.5% decline in total subscribers to 9.4 million — the same number as the second quarter of 2022.
Outside of France, Deezer’s B2C subscribers fell 15.8% year-over-year, from 2.7 million to 2.2 million, although the loss in the third quarter was a more modest 4.4%, or 100,000 subscribers. That decline was due to Deezer’s decision to focus more on a smaller number of larger markets — including France, Germany, U.S. and Brazil — and reducing unprofitable spending in elsewhere. Also, Deezer shut down its business in Russia at the end of the first quarter.
The company expects to finish the year with about 455 million euros ($445 million) of revenue, a 14% improvement from 2021. Deezer expects to see benefits from its new partnership with media company RTL in Germany in the second half of the year. More price increases should help bolster ARPU and revenues, too. In an Oct. 4 investor presentation, Deezer revealed it plans to raise prices in the U.S. and Germany in October and Brazil in December. Additionally, Deezer will increase the price on all existing iOS users in November, which Folgueira said “willl have a substantial impact” on fourth-quarter earnings results.
Universal Music Group said revenues rose 13.3% to 2.66 billion euros in the third quarter at constant currency, as sales from BTS, BLACKPINK and Ado helped the world’s largest record label report growth across all segments on Thursday. Without considering changes in foreign currency exchange rates, revenues were up 23.7%.
The first of the major labels to report earnings this season, UMG said recorded music revenue grew 10.1%, music publishing revenues grew 6.9% and merchandise and other revenues grew 101.1% in the third quarter ending compared to a year ago based on constant currency conversion.
“Through our innovation, global reach, and unique understanding of the evolution of the market, we are continually improving the monetization of music and music-related content, generating high-quality revenue and recurring income from more sources than ever before,” UMG Chairman and Chief Executive Sir Lucian Grainge said in a statement.
UMG’s adjusted earnings before interest, taxes, depreciation and amortization (EBITDA) rose 9.1% compared to the year ago quarter, driven by the strong increase in revenue.
Included in the revenue growth for the quarter was a 71 million euro benefit from the settlement of a copyright infringement lawsuit with an internet service provider, the company said. UMG also said the quarter included a 21 million euro hit in its music publishing division from a change in accounting policy. These factors also provided a 52 million benefit and a 7 million euro drag respectfully to the company’s EBITDA and Adjusted EBITDA for the third quarter.
Q3 Results:
Company-wide revenues rose 13.3% to $2.664 million in constant currency for the third quarter ending Sept. 30 from a year ago.Recorded Music revenues rose 10.1% to €2,060 million in constant currency.Subscription and streaming revenue grew 7.7% in constant currency, with subscription revenue up 8.7% in constant currency.Ad-supported streaming revenue grew 5.2% in constant currency.Physical revenue declined 9.6% in constant currency, which the company attributed to a weaker release schedule compared to the prior year.Downloads and other digital revenue were up 55.7% in constant currency in large part due to the settlement of the copyright infringement lawsuit.License and other revenue rose 30.2% in constant currency helped by strong touring revenues.Merchandising and other revenue of 189 million euros was up 101.1% in constant currency due to a rebound in touring-related merchandise revenue.
Meta, the parent company of Facebook and Instagram, reported $27.7 billion in second-quarter revenue, down 4 percent compared to the same quarter a year ago, continuing a trend of ad-supported tech companies feeling the pain of a tougher macroeconomic environment and renewed competition from competitors like TikTok.
However, the company beat Wall Street expectations for revenue. The company had previously forecast revenue of $26 billion–28.5 billion for the quarter, so it met its own guidance.
Going forward, however, things look tough. The company forecast Q4 revenue of $30-32.5 billion, below Wall Street expectations, sending its share price lower after hours.
Meta net income fell by 52 percent to $4.4 billion, while its daily active user base rose by 4 percent to 2.93 billion.
The company is in the midst of a strategic pivot toward the “metaverse,” which it seems to define as being driven by virtual reality and augmented reality. However, its early efforts in the space remain niche, even as it has committed billions of dollars toward investing in the space.
In its Q3 earnings report, the company said it was making “significant changes across the board to operate more efficiently,” including shrinking some teams and keeping others flat, so that it is “investing headcount growth only in our highest priorities.”
Those priorities will include developing its AI discovery engine, its ads and business messaging platforms, and its future investment in the metaverse.
In the near-term, the company expects savings as it “rationalizes” its office footprint.
The AI discovery engine is particularly relevant to Meta’s TikTok competitor Reels, which CEO Mark Zuckerberg says is stealing time spent from the other app. Reels is now a $3 billion annual run rate business, he added.
When the discovery engine is built out, the company will be able to “recommend photos, text, links, communities, short and long form videos, alongside posts from family and friends,” Zuckerberg said, differentiating it from TikTok.
“While we face near term challenges on revenue, the fundamentals are there for a return to stronger revenue growth,” Zuckerberg added in a statement. “We’re approaching 2023 with a focus on prioritization and efficiency that will help us navigate the current environment and emerge an even stronger company.”
Still, on the company’s earnings call, Zuckerberg also projected some optimism, telling analysts that “our product trends look better from what I see than what some of the commentary suggests.”
On Facebook specifically, the number of people using it each day is the highest it has ever been,” he added, noting that it now has nearly 2 billion users, and that WhatsApp’s fastest-growing region is now North America.
Meta’s quarterly report follows similarly disappointing results from Snap and Alphabet, which have also been feeling the pinch of the advertising environment. Snap cut about 20% of its staff last quarter, and saw its losses widen, as it seeks to restructure. It did, however, see double digit user growth.
Alphabet, the owner of YouTube and Google, also missed expectations, with YouTube revenue falling year-over-year for the first time since it was broken out by the company.
This article was originally published on THR.com.
The Ledger is a weekly newsletter about the economics of the music business sent to Billboard Pro subscribers. An abbreviated version of the newsletter is published online.
Music companies face a multitude of pressures as 2022 comes to an end: crippling inflation, a tight labor market, a chaotic environment for breaking new artists, interest rates that are dampening catalog valuations, and high costs of touring amidst a crush of artists on the road, among other challenges. The upcoming slate of corporate earnings provides an opportunity to hear about these opportunities and challenges from leaders of publicly traded music companies who rarely go on the record.
Spotify reports third-quarter earnings after the close of trading on Tuesday (Oct. 25). Universal Music Group and Deezer follow on Thursday (Oct. 27) after the close of trading in the Netherlands and France, respectively. Cumulus Media reports Friday morning (Oct. 28). SiriusXM reports earnings on the morning of Nov. 1. Tencent Music Entertainment announces earnings on Nov. 15. The other 14 publicly traded music companies in the Billboard Global Music Index have not yet announced when they will report.
Look for executives to comment about subscription prices and digital platforms’ ability — or reservation — to raise subscription prices. It’s been a recurring theme from digital and label executives throughout the years, in part because it’s been over a decade since streamers last did it in any meaningful way. “Music is a good value” seems like a popular position when streaming video on-demand services are engaged in cut-throat competition and undercutting one another’s prices to attract new customers and prevent current customers from departing. But the industry has arguably moved past that stage, with many now interested in other means to grow revenue. Still, expect music streaming companies to be reticent to hike prices while inflation is running at a 40-year high.
On Tuesday. Spotify could offer a bevy of information and insights about its progress toward its drive to improve margins, as laid out in its June 9 investor presentation: goals for 35% gross margins in music and 30-35% gross margins in podcasting within the next three to five years. Music margins will be helped by improvements in ad monetization in developing markets as well as price increases in mature markets.
More pressing will be Spotify’s opinions on macroeconomic forces that could affect its growth. The company’s advertising business was roiled by an advertising slowdown during the first year of the pandemic, and now many experts are predicting a recession in 2023 that could again dampen online advertising. On Alphabet’s July 26 earnings call, the company repeatedly used the word “uncertain” when talking about the economy, while reporting that YouTube ad sales grew at their slowest pace since the company started disclosing metrics in 2018. Meta’s second-quarter revenue, meanwhile, was 1% lower than a year earlier — its first decline in a decade. If the same market conditions affect Spotify, how will it react? Even though advertising accounted for only 12.6% of the company’s total revenues in the second quarter, it’s critical to the podcasting business that’s expected to deliver margin relief in the coming years.
If social media company Snap’s third-quarter results Thursday are any indication, a weak advertising market will be a recurring theme throughout October and November earnings reports. In a letter to shareholders, Snap warned its “advertising partners across many industries are decreasing their marketing budgets, especially in the face of operating environment headwinds, inflation-driven cost pressures and rising costs of capital.” At the same time, Snap announced a stock repurchase program of up to $500 million “to protect shareholder value from the impact of dilution.” Investors reacted quickly and decisively by sending Snap shares down as far as 32% to $7.33 on Friday — 87.9% below its 52-week high of $60.78.
Also, expect questions about Spotify’s long-awaited HiFi subscription tier. Last week, reports surfaced that Spotify could be prepping a “platinum” subscription plan that bundles high-fidelity audio with other products. The reports were based on an online survey that sought consumers’ opinions on various product bundles, not hard evidence of an upcoming product launch. But the fact that Spotify would sweeten the offer with reduced advertising in podcasts and other items could suggest it realized demand for a standalone HiFi tier is weaker than hoped — especially when Apple Music and Amazon Music are offering it at no additional cost. What CEO Daniel Ek will say is another matter, however, as Spotify is unlikely to discuss details about a product before an official announcement.
High-fidelity audio is pertinent to Spotify investors because it could help improve gross margins. The June 16 acquisition of audiobook distributor Findaway led to the Sept. 20 launch of an audiobook download store. As both retailer and distributor, Spotify can get 60% margin in audiobook purchases, more than double its current gross margin. Of course, the more important question is how many margin dollars audiobooks will ultimately deliver. With only a few weeks of audiobook sales under its belt, and no audiobook sales in the third quarter earnings, Spotify will have few tangible results for a progress report.
Universal Music Group reports earnings on Thursday (Oct. 27) after the end of the trading day in Amsterdam, where UMG shares are listed. UMG’s share of the U.S. recorded music market dropped slightly from 38.3% in the first half of 2022 to 37.1% at the end of the third quarter, which was lower than its 38.4% share in the prior-year period. UMG’s biggest competitor, Sony Music Entertainment, meanwhile, saw its share boosted from 26.3% to 26.7% thanks to the runaway success of Bad Bunny‘s Un Verano Sin Ti, the biggest album of 2022. UMG biggest releases were Kendrick Lamar’s Mr. Morale and the Big Steppers and The Weeknd’s Dawn FM (Republic). A handful of albums released in 2021 were also in the top 10 in total consumption: Morgan Wallen‘s Dangerous (Jan. 8, 2021), The Weeknd’s The Highlights (Feb. 5, 2021) Olivia Rodrigo’s Sour (May 21, 2021) and Drake‘s Certified Lover Boy (Sept. 21, 2021).
During UMG’s last earnings call, on July 27, CEO Lucian Grainge recounted a string of recent releases (Drake’s Honestly, Nevermind got off to a great start), partnerships (HYBE’s first release through its deal with UMG’s Ingrooves/Geffen), how it planned to get a return on investment on some recent acquisitions (Frank Zappa and Neil Diamond) and how the new Mercury Studios (which produced documentary films on The Rolling Stones and Shania Twain) had helped lift catalog streams.
More important to investors and industry professionals are concrete examples of UMG moving its business forward. Last quarter, Grainge announced UMG’s new licensing deal with Meta and revealed the company had become one of its top 10 revenue-generating digital platforms. He also announced the creation of the New Music Media Network, a service that connects brands and partners with proprietary data and exclusive media from UMG. Given the vital role advertising plays in today’s streaming-led music business and the platforms of tomorrow, a progress update on the New Music Media Network would be helpful.
Less important are comments made about Web3, NFTs and metaverse initiatives. Despite initial enthusiasm around NFTs, these businesses are a work-in-progress and represent an immaterial amount of revenue to a major music company. Conversation about these businesses merely shows that a company is looking ahead and taking the proper steps to capitalize — somehow — on them in the future. That requires hiring the right people, making investments, striking partnerships and trying new things to learn and gain experience. But as of now, Web3, NFTs and the metaverse are solidly in the experiment phase.