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LONDON — An eighth consecutive year of growth is undoubtedly great news for the music business — especially for anyone who worked in the industry during the near-decade of decline brought on by rampant piracy and falling CD sales. But this year’s IFPI “Global Music Report” also demonstrates a slowing rate of growth across all formats and in nearly all established markets.
Here are five takeaways from this year’s report:
Growth Slows Down
Total recorded music revenues climbed to $26.2 billion, up 9% in 2022, which, although impressive, is half of 2021’s growth, when revenues were up 18.5%. Paid-for streaming subscription revenue rose 10.3% to $12.7 billion in 2022, compared with a 21.9% year-on-year jump in 2021.
Total streaming (including paid subscription and advertising-supported) was up 11.5% to $17.5 billion, versus a rise of 24% the prior year.
Physical format revenue climbed 4%, compared to 16% in 2021, while music sales in the world’s three biggest markets — the United States, Japan and United Kingdom — all grew by around 5% last year, compared with double-digit gains for the U.S. and U.K. in 2021 (+22.6% and +13.2% respectively) and a rise of 9.3% in Japan.
IFPI attributed the slowing to 2021’s exceptional growth, which it said was partly fueled by a post-pandemic bounce back in music consumption, and execs at a London launch event Tuesday said they were confident the market was not about to plateau.
“I do think there are pockets of established markets where there is an opportunity to grow,” said Simon Robson, head of Warner Music Group’s international recorded music operations outside the U.S. and the U.K. He cited France as a major music market where streaming subscription penetration rates remain under 20%. “The challenge for today is how we better monetize other forms of music consumption,” he added, noting that “it would help if music subscription pricing could reflect the realities of inflation, which, as we’ve seen with video streaming services, have been putting up their prices quite significantly.”
When Robots Take Over
The future role that artificial intelligence (AI) will play in the record business was raised several times at the London launch event, with executives keen to highlight the technology’s potential for commercial growth, as well as some of the risks and challenges it brings. Some executives saw potential benefits in using AI to better analyze and understand fan engagement trends and artist discovery (something which platforms and music companies are already doing) and optimizing technical aspects of music production, including immersive sound.
On the flip side, execs issued a stark warning about human artistry being devalued at the expense of technology. AI developers, they said, could fail to respect the rights of creators by using artist recordings to generate new content without authorization – a threat that Michael Nash, executive vp, chief digital officer at Universal Music Group, said he placed “at the top” of industry issues that need to be addressed. “We need to work very hard to define new models so that we can enable generative AI without looking away from what is essentially going to be wholesale hijacking of the intellectual property of the entire creative community,” wrote Nash in IFPI’s “Global Music Report” document.
Streaming May Dominate, But Physical Is Far From Dead
Having enjoyed a post-pandemic renaissance in 2021 — when sales of CDs increased for the first time this millennium and overall physical sales grew 16.1% — physical format revenue continued to be surprisingly resilient last year, rising 4% to $4.6 billion. It was the second consecutive year of growth for the format, once considered dead. Almost half (49.8%) of those global revenues came from Asia, where the humble CD remains a popular music purchase, particularly in South Korea and Japan, the region’s largest music market and world’s second biggest behind the U.S.
Vinyl revenues’ upward trajectory also continued, rising 17.1% over 2021, and while global CD sales slipped 0.4% year-on-year (IFPI didn’t provide financial values for CD or vinyl income), physical revenues still accounted for 17.5% of the overall recorded music market last year. That’s just under what ad-supported streams generate for labels and rights holders (representing 18.7% of global sales) and more than the combined haul from sync, performance rights and digital downloads.
All Eyes Turn Towards Africa
Sub-Saharan Africa overtook the Middle East and North Africa as the fastest growing region in 2022, with music sales rising almost 35% year-over-year, reports IFPI. Driving that growth was South Africa’s thriving music industry, Africa’s biggest market, which climbed by more than 31% last year, compared to modest 2.4% growth in 2021.
Nevertheless, the challenge of converting users of ad-based music services to paid subscription remains a considerable one, said Temi Adeniji, president of Warner Music Africa, with South Africa having around 4 million paid subscribers out of a population of nearly 50 million people. Adeniji said the burgeoning global popularity of Amapiano, a genre which originated in South Africa, was already producing crossover hits in markets like Nigeria. She predicts “an infusion of Amapiano elements” into other international music scenes over the next few years to further drive the region’s development as a key music territory.
China Climbs to Become a Top-Five Music Power
For years, music executives have talked up China — the world’s most populous country, home to 1.4 billion people, according to China’s National Bureau of Statistics – as a huge music market in waiting. In 2022, that potential was finally realized with China usurping France (a long-time mainstay in the upper echelons of the world music market rankings) as the fifth-biggest music market worldwide with revenues of $1.2 billion, up 28.4% year-on-year, according to IFPI. That’s on the back of 30% growth in 2021, when China was the world’s sixth-biggest music market.
The dominance of local streaming services QQ Music, Kugou Music, Kuwo Music, which are all owned by China-based Tencent Music Entertainment (TME, which publishes Billboard China), means that Western and international acts rarely feature on China’s many of domestic charts, which includes some run by China’s state-owned broadcaster. But the popularity of domestic pop stars like Jay Chou, Yisa Yu, Mao Buyi, Zhou Shen and Jackson Wang is now rapidly driving subscription take up in a country rife with piracy on a decade ago. TME’s most recent company filings report 85.3 million paying music users as of the third quarter of 2022.
Global music sales rose for the eighth consecutive year in 2022, with recorded music revenues growing in every world market and across almost all formats, according to the International Federation of the Phonographic Industry’s (IFPI) “Global Music Report 2023.”
Total revenues climbed to $26.2 billion, a rise of 9% on the previous year. Although that rate of growth is half 2021 year’s rise, when revenues were up 18.5% year-on-year, IFPI said it was still the fourth highest growth level the recorded music business has seen this millennium.
The leading driver of growth was a 10.3% rise in paid-for streaming subscription revenue, which totaled $12.7 billion last year. IFPI reports there were 589 million users of paid subscription accounts at the end of 2022, up from 523 million in the previous 12 months and 443 million in 2020.
Streaming (including paid subscription and advertising-supported) now accounts for 67% of sales across the music industry, up from 65% in 2021 and 62% in 2020, although rate of growth is slowing.
In 2021, streaming revenues rocketed 24% to $16.9 billion. Last year, total revenues streaming revenues increased 11.5% to $17.5 billion.
Despite the dominance of streaming, physical music formats continue to be resilient with CD and vinyl revenues increasing for a second consecutive year — albeit at a slower rate than 2021’s 16.1% rise, fueled by a post-pandemic boom in home music purchases — to $4.6 billion, up 4% on the prior year.
Within physical music revenues, last year’s growth in CD sales proved to be a fleeting uplift with revenues falling 0.4% in 2022. Vinyl revenues shot up 17.1% (IFPI did not provide revenue numbers for CD or vinyl sales).
In terms of market share, physical accounted for 17.5% of the overall market last year (down from 19.2% in 2021) with Asia generating almost half (49.8%) of all global revenues for physical music sales.
Performance rights revenue climbed 8.6% to $2.5 billion, representing 9.4% of global revenues, while sync income was up 22.3% to $0.6 billion, representing 2.4%.
Downloads and what IFPI classifies as other (non-streaming) digital formats was once again the only format channel to record a decline, falling 11.7% to $900 million and representing just 3.6% of the global market.
As per previous year’s reports, IFPI uses current exchange rates when compiling its Global Music Report, restating all historic local currency values on an annual basis. Market values therefore vary retrospectively as a result of foreign currency movements, says IFPI, which represents more than 8,000 record company members worldwide, including all three major labels, Universal Music Group, Sony Music Entertainment and Warner Music Group.
Thanks to sustained growth in streaming, global recorded music revenues have now reached their highest level since 1999 — when music sales totaled $22.3 billion – on an absolute dollar basis, not accounting for inflation, reports IFPI. Piracy and declining physical sales saw the market bottom out at $13.1 billion in 2014.
“Record companies’ investment and innovation has helped make music even more globally interconnected than ever,” said IFPI chief executive Frances Moore in a statement, accompanying the report.
As the music economy grows, however, “so too do the areas in which record companies must work to ensure that the value of the music artists are creating is recognized and returned,” Moore warned.
Referring to the ongoing threat of music piracy, she said the challenges for record companies, artists and creators are “becoming increasingly complex as a greater number of actors seek to benefit from music whilst playing no part in investing in and developing it.”
Writing in the report’s foreword, Universal Music Group chairman and CEO Sir Lucian Grainge said “to succeed, music’s future must be artist-centric.” He called on the industry to focus on building a “robust, growing and sustainable music ecosystem” in which “creators of all music content, whether in the form of audio or short-form video, are fairly compensated and can therefore thrive for decades to come.”
IFPI’s Global Music Report 2023 Topline Figures:
Global music sales up 9% to $26.2 billion
Streaming subscription revenues up 10.3% to $12.7 billion
Total streaming revenues (including paid and ad-supported) up 11.5% to $17.5 billion
Physical revenues up 4% to $4.6 billion
Performance rights revenues rise 8.6% to $2.5 billion
589 million paid music subscribers
Streaming’s share of global music sales: 67%
In terms of world markets, the U.S. retains its number one position with music sales growing 4.8% and exceeding $10 billion in recorded music sales for the first time.
Japan holds steady in second place with sales growing 5.4% in 2022. The third and fourth-biggest markets for recorded music remain the United Kingdom (+5.4%) and Germany (+2.2%), respectively.
The rest of the top 10 is made up of China (+28.4%), which becomes a top five global market for the first time, France (+7.7%), South Korea, Canada (+8.1%), Brazil (+15.4%) and Australia (+8.1%).
IFPI said that music sales were up in all 62 of the global markets it tracks. The organization’s free-to-access report does not provide market-by-market revenue breakdowns.
On a regional basis, it was a similar story with revenues from the U.S. and Canada region up 5%, while Latin America – where streaming now accounts for 85.2% of the market — saw growth of 25.9%
The fastest-growing market region in 2022 was Sub-Saharan Africa, which recorded a 34.7% rise in music sales, largely driven by the booming music market in South Africa, where sales were up by more than 30% year-on-year.
Revenues in Middle East and North Africa, last year’s fastest growing region, rose by almost 24%, driven almost entirely by streaming, which has 95.5% share of the region’s recorded music market – the highest share for any region worldwide, reports IFPI.
Revenues in Europe, the second-largest recorded music region in the world after the U.S. and Canada, grew by 7.5% — compared to the prior year’s growth rate of 15.4% — driven by gains in Europe’s three biggest markets, the U.K., Germany and France. Asia grew by 15.4%.
Another day, another historical win for Bad Bunny.
The Puerto Rican star’s Un Verano Sin Ti has won the IFPI Global Album Award, becoming the first Latin artist to ever win an IFPI global award, according to the organization.
IFPI, the trade association that represents recorded music industry worldwide, announced Friday (Feb. 24) that UVST — which spent a total of 13 non-consecutive weeks atop the Billboard 200 and became the first Spanish-language album to be nominated for album of the year at the Grammy Awards — topped the Top 20 Global Albums chart in 2022.
“We are incredibly excited to award Bad Bunny, the first Latin American artist to win an IFPI Global Award, with the Album of the Year Award,” Frances Moore, chief executive, IFPI, said in a statement. “His unique sound, encapsulated in his award-winning album Un Verano Sin Ti, has captured the world’s attention on a remarkable scale over the last 12 months.
Elsewhere on the Top 20 Global Albums, which takes into account all consumption formats, spanning physical sales, digital downloads and streaming platforms across a calendar year, Taylor Swift’s Midnights came in second place. Earlier in the week, the IFPI announced Swift was the global recording artist of the year, winning for a third time after already having topped the tally in 2014 and 2019.
Meanwhile, Harrys Styles’ Harry’s House took the third spot on the Top 20 Global Albums chart. His hit song “As It Was” was crowned with IFPI’s Global Single Award for 2022, an honor that recognizes the top performing single across all platforms, and all markets.
“This year’s Global Albums Chart bears testament to the incredible partnerships that exist between artists and record labels,” Moore added. “These partnerships nurture and support artists while they write and record their music before going on to promote albums on a global level, achieving extraordinary amounts of success around the world.”
Rounding out the top five global albums are BTS’ Proof and the the original soundtrack for Encanto came in at No. 5. Also on the list are Olivia Rodrigo’s Sour, Beyoncé’s Renaissance and Drake’s Certified Lover Boy. The full Top 20 list can be seen below.
IFPI Top 20 Global Albums of 20221/ Bad Bunny, Un Verano Sin Ti2/ Taylor Swift, Midnights3/ Harry Styles, Harry’s House4/ BTS, Proof5/ Encanto Cast, Encanto (OST)6/ Stray Kids, Maxident7/ Seventeen, Face the Sun8/ Blackpink, Born Pink9/ Olivia Rodrigo, Sour10/ Ed Sheeran, =11/ Enhypen, Manifesto: Day 112/ Morgan Wallen, Dangerous: The Double Album13/ Doja Cat, Planet Her14/ Stray Kids, Oddinary15/ The Weeknd, Dawn FM16/ Tomorrow x Together, minisode 2: Thursday’s Child17/ Beyoncé, Renaissance18/ Seventeen, Sector 1719/ The Kid Laroi, F*ck Love (Mix Tape)20/ Drake, Certified Lover Boy
We’ve all lived in Harry’s House in recent times, as Grammy Awards, Brit Awards and now a special IFPI Award go the way of Harry Styles.
The British pop star’s megahit “As It Was” is crowned with IFPI’s Global Single Award for 2022, an honor that recognizes the top performing single across all platforms, and all markets.
Lifted from Styles’ third solo studio album Harry’s House, “As It Was” racked up 2.28 billion global equivalent streams last year, according to the trade association, an impressive distance ahead of Glass Animals’ “Heat Waves” (1.75 billion streams) and The Kid LAROI and Justin Bieber’s “Stay” (1.74 billion), which respectively complete the podium.
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The IFPI Global Single Award is presented each year to the act with the world’s “best-selling” single across all digital formats — including paid subscription streaming, ad-supported platforms, and single-track downloads.
Following its release April 1, 2022, “As It Was” made its home at the top of sales charts on both sides of the Atlantic and across the globe.
In the U.K., it logged 10 weeks at No. 1, as Styles went on to sweep all four Brit Awards for which he was nominated — artist of the year, Mastercard album of the year, song of the year and the fan-voted pop/R&B act.
The single led the Billboard Hot 100 chart for an astonishing 15 weeks, helping Styles to win Grammys for album of the year and best pop vocal album, both for Harry’s House.
Styles even won the fan-voted best international artist at the 2022 ARIA Awards, after “As It Was” reigned over the national Australian chart for six weeks.
The Brit is no stranger to IFPI silverware. He first received an IFPI Award as part of One Direction when the association first launched the IFPI Global Recording Artist Chart 10 years ago.
Frances Moore, CEO of IFPI, congratulates the former 1D star and remarks: “It’s wonderful to see such a diverse mixture of songs in the Global Singles Chart this year – some familiar tracks from the previous year that continued to grow in 2022, amongst plenty of new tracks and some reimagined older tracks – all going to show that record companies are working hard to find new ways to ensure music fans around the world have access to such a wide range of music year on year.”
Earlier in the week, the IFPI anointed Taylor Swift as the global recording artist of the year, winning for an unprecedented third time, having already topped the tally in 2014 and 2019.
Styles came in at No. 8 on that official list, which ranks acts’ worldwide performance across digital and physical music formats during the year, from streams to vinyl, and covers their entire body of work.
IFPI Top 10 Global Singles 2022
Harry Styles- As It Was (2.28bn)
Glass Animals – Heat Waves (1.75bn)
The Kid LAROI and Justin Bieber – STAY (1.74bn)
Elton John and Dua Lipa – Cold Heart (PNAU Remix) (1.34bn)
The Weeknd – Save Your Tears (1.32bn)
Imagine Dragons & JID- Enemy (1.26bn)
Ed Sheeran – Shivers (1.23bn)
GAYLE – abcdefu (1.22bn)
Bad Bunny & Chencho Corleone – Me Porto Bonito (1.21bn)
Ed Sheeran – Bad Habits (1.20bn)
Bad Bunny – Tití Me Preguntó (1.14bn)
Dua Lipa – Levitating (feat. DaBaby) (1.11bn)
Adele – Easy On Me (1.03bn)
The Weeknd- Blinding Lights (1.01bn)
Lil Nas X and Jack Harlow – INDUSTRY BABY (1.01bn)
Kate Bush – Running Up That Hill (A Deal With God) (1.00bn)
Encanto Cast – We Don’t Talk About Bruno (0.95bn)
Farruko – Pepas (0.94bn)
Jack Harlow – First Class (0.92bn)
Karol G – PROVENZA (0.92bn)
*Global subscription streams equivalent
LONDON – Taylor Swift has added more hardware to her overflowing trophy cabinet with the star being crowned 2022’s Global Recording Artist of the Year by international trade group IFPI. It’s the third time that Swift has won the annual honor, which recognizes the year’s best-selling act across physical sales, downloads and streaming worldwide, making Swift the most successful artist in the award’s 10-year history.
Swift previously won the honor in 2014 and 2019 and placed second in last year’s chart behind K-pop group BTS. She also charted in the top three of IFPI’s global artist rankings in 2015, 2017 and 2020. BTS and Drake are the only other acts to have collected the award more than once, with two wins apiece, while Swift becomes the first artist to receive it three times.
Announcing the award, IFPI chief executive Frances Moore called Swift “a truly magnificent international star, who continues to grow and evolve as an artist whilst maintaining an incredibly strong connection with her fans around the world.”
Swift’s 10th studio album, Midnights, was released in October, debuting at No. 1 on the Billboard 200 and moving 1.578 million equivalent album units in the U.S. in its first week – the biggest sales week for any album in nearly seven years, according to Luminate. Midnights spent five weeks atop the Billboard 200, as well as topping charts around the world, including five weeks at No.1 in the United Kingdom. IFPI did not provide global sales figures for Swift.
Second in IFPI’s 2022 Global Artist Chart, which measures worldwide consumption across all formats and an artist’s entire body of work, not just music released last year, was K-pop superstars BTS. It is the group’s third consecutive year in the Top 3 following back-to-back wins in 2020 and 2021.
Drake placed third, ahead of Bad Bunny, who becomes the first-ever artist from Latin America to enter IFPI’s Top 5. It was also a successful year for acts from South Korea with boy bands SEVENTEEN and Stray Kids charting at No. 6 and No. 7, respectively, while Jay Chou is the first Taiwanese artist to feature in the Top 10. The United Kingdom is represented by Harry Styles (No. 8) and Ed Sheeran (No. 10), with Canada’s The Weeknd charting at No. 5. The full Top 20 list can be seen below.
IFPI Top 20 Global Recording Artists of 20221/ Taylor Swift 2/ BTS 3/ Drake 4/ Bad Bunny 5/ The Weeknd 6/ SEVENTEEN 7/ Stray Kids 8/ Harry Styles 9/ Jay Chou 10/ Ed Sheeran 11/ Eminem 12/ Kanye West 13/ YoungBoy Never Broke Again 14/ Kendrick Lamar 15/ Lil Baby 16/ Billie Eilish 17/ Post Malone 18/ Juice WRLD 19/ The Beatles 20/ Imagine Dragons
Colombian record executive Adriana Restrepo has been appointed IFPI’s regional director for Latin America and the Caribbean. Restrepo will now head the global record music organization’s regional operations in Latin American and the Caribbean, based out of the organization’s offices in Miami and reporting directly to IFPI chief executive Frances Moore.
Restrepo takes over the post vacated by Javier Asensio, who served as regional director of the IFPI since 2011. Asensio, who’s been on Billboard’s Latin Power Player list on multiple occasions, stepped down from his role at the end of 2022 to return to his native Spain.
“Having worked directly with Adriana for a number of years as she served on our boards, I know first-hand the level of passion, commitment and knowledge of the Latin American music sector that she brings to the role,” said Moore in a statement. “I would also like to thank Javier who has been outstanding in overseeing our work in the region for over a decade and achieved so much during a period of rapid change and evolution in the market.”
Restrepo comes from a business and recording industry background and is one of the very few women who have headed record labels, including multinationals, in Latin America. She was most recently president of Sony Music Andes, based in Bogotá, Colombia, and overseeing Sony’s operation in the Andean region, which includes Colombia, Ecuador, Peru and Venezuela. Prior to that, Restrepo was president of powerful Colombian indie Codiscos, one of the region’s oldest and most respected labels and publishers, with a vast catalogue of tropical and popular music.
Restrepo comes to the post at a time when the Latin American music industry is on a path of massive growth. Recorded music revenues in Latin America grew 31% in 2021, exceeding $1 billion in revenues for the first time, and making it the 12th year of consecutive growth for the region.
Restrepo, who served on the IFPI’s main board between 2018 and 2020 is familiar with the organization.
“The region is experiencing a stellar moment due to the massive production of new talent for the entire world,” she said in a statement. “I will continue the good work developed by Javier with the National Groups and the collective management organisations seeking to reach new goals for the benefit of IFPI members.”
At Sony Andes, Maria Mercedes “Mechas” Montejo has been appointed to lead the company.
“We will miss Adriana here at Sony Music Latin Iberia, but we are thrilled to know that her professionalism and experience will be of service to the entire Latin music industry in her new role. We wish her all the best,” said Afo Verde, chairman & CEO Latin America, Spain and Portugal for Sony Music Entertainment.
Verde, and the other regional label heads will be working closely with Restrepo, as they do traditionally with IFPI leadership, and support for Restrepo has been unanimous.
“Adriana brings experience, knowledge and a great capacity for work, at a time when the challenges we face in Latin America continue to be enormous. There is nobody better than her to continue the great job done by Javier Asensio during the last decade,” said Jesús López, chairman & CEO, Universal Music Latin America & Iberian Peninsula, Universal Music Group.
Added Alejandro Duque, president, Warner Music Latin America: “I’ve known Adriana for many years and believe she has the right qualities and commitment to lead and execute our industry’s agenda in the region for years to come.”
LONDON — More people around the globe are listening to licensed music services than ever before, but piracy continues to have a harmful impact on creators’ careers, according to a new report from international trade body IFPI measuring global consumption and listening habits.
IFPI’s “Engaging with Music 2022” study reveals that music consumers are spending on average 20.1 hours listening to music weekly, a 9% increase from 18.4 hours in 2021.
The London-based organization found that 46% of the 44,000-plus music fans it surveyed for the report listen to their favorite artists through a premium subscription streaming service such as Spotify, Apple Music or Amazon Music, either using their personal subscription or via a shared account. That number rises to 74% when ad-supported music streaming is factored in alongside paid subscriptions.
Those streaming service numbers are slightly down from IFPI’s 2021 figures — when about 47% of respondents used a paid subscription service and 78% of people said they used either ad-supported or paid streaming – but IFPI says any decreases are the result of a change in accounting methodology, rather than a drop in real terms.
In this year’s report, the adoption of subscription streaming services is highest among younger listeners, with 54% of 16–24-year-olds and 56% of 25-34-year-olds surveyed saying they use subscription music platforms. Usage drops to 26% in the 55-64-year-old age bracket.
The top five countries where people spent the most time listening to music through a subscription streaming service were Sweden (56% of people surveyed), the United Kingdom (52%), the U.S. (51%), Germany (51%) and Mexico (50%). (Overall, IFPI reports a 10% rise in time spent listening to music on paid streaming services compared to the prior year.)
The IFPI report was compiled by surveying internet users aged 16-64 between June and September across 22 countries, including the United States, Japan, United Kingdom, Germany, France, Australia, Brazil, Canada and Mexico. Collectively, these markets accounted for more than 89% of global recorded music revenues in 2021, according to this year’s IFPI Global Music Report.
Writing in the study’s foreword, IFPI chief executive Frances Moore says the report’s findings show “how music engagement is thriving, driven by new genres [and] new formats,” as well as the global value of music, “and the need to protect and support it.”
Video-Based Music Consumption Dominates
Of those surveyed in the “Engaging with Music 2022” report, more than three-quarters say they consume music in multiple formats. On average, people use more than six different methods to engage with music, the most popular being video streaming, says IFPI.
Of the people surveyed, 82% said they regularly consume music through video streaming services like YouTube. Audio streaming was the second most popular listening format, followed by radio listening, and then short-form video formats such as TikTok. Meanwhile, 32% of respondents said they had watched a music concert livestream in the last month with more than half (58%) having recently watched a music-focused TV show or film.
Driven by the huge global popularity of TikTok, which says it has over one billion monthly active users, half of those surveyed said they use short-form video apps with 63% of respondents saying music is a key factor in choosing what content they consume on the platforms. South Africa and Mexico were the countries with the highest percentage of short-form video app users (both 78%), followed by Brazil (71%) and Argentina (66%), reports IFPI.
Pop was named as the most popular music genre globally, followed by rock, hip-hop/rap, dance/electronic, and Latin. When it comes to physical music, 12% of the people surveyed had bought a CD within a month of submitting their responses and 8% had purchased a vinyl record.
Survey data from China and India is not included in the main report’s global figures because IFPI says the size of the countries would have a “considerable impact on the weighted average figures used.” The listening study contains separate reports looking at music consumption in China, India, Indonesia and Nigeria. Results from Indonesia and Nigeria were also not included in the global round up as they were included in the survey for the first time this year.
In China, 96% of people surveyed use licensed music streaming services with 94% using short form video platforms. In India, 88% of respondents use music streaming services with 65% consuming short-form video.
Despite the growth in global music listening, the availability of unlicensed repertoire continues to pose a serious threat to the future health of the record industry, says IFPI. It found that almost one in three respondents (30%) admitted to using unauthorized or unlicensed methods to listen to or download music.
Stream-ripping sites remain the most popular way for consumers to access copyright-infringing music, IFPI found, with 40% of 16-24-year-olds confessing to using them. Almost one in five people (17%) said they had used an unlicensed mobile app to illegally download music.
Responding to its findings, Moore said IFPI will continue to fight against all forms of music piracy “to ensure that those seeking to profit from unlicensed and unauthorized music cannot threaten the vibrancy of a music ecosystem that is essential to artists and fans.”