MRC DATA YEAR-END REPORT - Music Business

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MRC DATAYEAR-ENDREPORTU.S. 2020PRESENTED IN COLLABORATION WITH BILLBOARD1

IntroductionEVERYTHING CHANGED IN 2020. AND THAT INCLUDES OUR TEAMhere at MRC Data, which rolled out several exciting new productsand announced a new strategic alliance that will shape our future. InSeptember, we introduced the first global charts with our partnersat Billboard. In their three months, the charts were led by artists likeAriana Grande, Cardi B and Maluma (turn to page 5 for lots more insights fromour first year of global metrics). Just one month later, we announced an excitingnew partnership with Penske Media that will allow us to bring even more valueto the industry and our clients.We are proud to be the steward of the definitive music industry andour global charts are a first-of-its-kind resource for the industry, offeringcomprehensive insight into songs and artists with international impact, aswell as burgeoning music trends that have yet to reach the United States.Through our joint venture with PMC we added theirindustry revered Alpha Data and Variety BusinessIntelligence to our suite of products making usthe leading provider of entertainment data andanalytics tools. As we reflect on a challengingbut rewarding year in 2020, we are excited andenthusiastic about the one ahead.Of course, there were plenty of other changesthis year. Before the coronavirus pandemic ledto nationwide lockdowns, the music industrywas doing great. Audio streaming increased 20%year-over-year through March 12, while total audioconsumption was up 15% through the first 10weeks of the year. But by March 20, the widespreadshutdown of all live concerts, events, officesand schools disrupted the daily activities andcommutes that drove that growth, and caused usall to reassess our media habits. MRC Data trackedthese ever-changing habits over a series of eightCOVID-19 studies, which found that time spentwith music actually led all other media types andincreased over time.2More Time with MusicAS OF NOV. 16, PEOPLE SPENT MORE TIME WITH THESE ACTIVITIESTHAN THEY DID JUST TWO WEEKS PREVIOUSLY.MUSICSHORT-FORMVIDEOSSOCIAL MEDIAVIDEO -19: TRACKING THE IMPACT ON THE ENTERTAINMENT LANDSCAPE - RELEASE 8

Though 2020 interrupted our lives,the powerful role of music remained aconstant. On-demand audio streamingfinished the year with a 17% increase inactivity, while total audio consumptionwas up 11.6% (see charts, page 8),anchored by a banner streaming yearfor the Country and Latin genres inparticular. Even vinyl continued its 15year growth streak, finishing the yearwith a 46.2% increase of total units sold,led by new releases and resissues fromHarry Styles, Billie Eilish and Queen.This is the the biggest year for vinylalbum sales since MRC Data begantracking in 1991.Amid all the pandemic pivots,a renewed push for social justiceresurfaced in the wake of the murdersof George Floyd, Breonna Taylor andothers, whose deaths at the handsof police officers rocked the nation.Widespread protests for police reformand racial equity were immediately feltin the music industry, as new singles(Adobe Stock)from Lil Baby and Beyoncé and classicanthems from Childish Gambino and J.Cole quickly became the soundtrack that spoke to the modern civil rightsmovement.A disruptive 2020 also led to shortened musical attention spans: TheBillboard Hot 100 had an unusually high amount of songs that reachedthe No. 1 spot (20 total, up from 15 in 2019) as tastes shifted nearly weekto week. Still, songs like Roddy Ricch’s “The Box,” The Weeknd’s “BlindingLights,” and Cardi B’s “WAP,” featuring Megan Thee Stallion, all proved theyhad the cultural staying power to spend multiple weeks at No. 1 and manymonths in the top 10 as listeners cycled through the latest TikTok hit.We have a lot to recap in this report, which covers music consumptionfor the 12-month period from Jan. 3, 2020, through Dec. 31, 2020 (ascompared to Jan. 4, 2019, through Jan. 2, 2020). Over the next 55 pages,we’ve outlined the powerful role music continues to play in consumers’lives. We hope these insights power a creative and optimistic 2021 for youand your colleagues as we head into another period of uncertainty. Want tolearn more? Let’s connect. We’d love to hear from you and provide custominsights to help you navigate the constantly fluctuating music marketplace.Email us at research inquiries@mrc-data.com.3Though 2020interruptedour lives,the powerfulrole of musicremained aconstant.

(Adobe Stock)ContentsTHE YEAR IN GLOBAL 5THE YEAR IN METRICS 82020: THE YEAR COVID CHANGED EVERYTHING 9THE YEAR IN MUSIC: BIG WINNERS & MOMENTS 11IN MEMORIAM 32THE YEAR IN CHARTS 34In this report, MRC Data is using a 52-week period for 2020, running from Jan. 3, 2020, through Dec.31, 2020, as compared with the 2019 period covering Jan. 4, 2019, through Jan. 2, 2020.4

Ariana Grande at the 62ndAnnual Grammy Awards.(Monty Brinton /CBS/Getty Images)THE YEAR IN GLOBALO“WAP” by Cardi B featuring MeganThee Stallion led the inauguralBillboard Global 200 chart, whilethe first Billboard Global Excl. U.S.list was ruled by Maluma’s “Hawái.”In November, ARIANA GRANDE’sN SEPT. 14, BILLBOARD AND MRC UNVEILED THE FIRSTtwo authoritative rankings of the top songs globally, withthe Billboard Global 200 and Billboard Global Excluding U.S.charts. The weekly tallies are based on worldwide audio andvideo streams and download sales, collated from over 200 territories.Rankings are based on a weighted formula incorporating official-onlystreams on both subscription and ad-supported tiers from leading“Positions” became the first songto debut simultaneously atop bothcharts, with Bad Bunny & JhayCortez’s “Dakiti” becoming the firstnon-English track to top both chartsjust two weeks later.digital platforms and downloads from key online music retailers.GLOBAL STREAMING TRENDSAUDIO ON-DEMAND STREAMINGfinished the year with a 17%increase in the United States, butadoption worldwide tells a slightlydifferent story, with a 22.6%increase in total audio streaming.This year’s growth was led by5territories like Japan, Australia,Belgium, Switzerland, Turkey,Spain, Brazil and Germany,which saw the biggest gains inweekly audio streaming growthsince the start of the pandemic andaccounted for a combined 22.8% oftotal audio streams in 2020.Smaller territories also sawaccelerated growth in streamingadoption, with the followingcountries experiencing the mostimpressive weekly audio streaminggrowth since the start of thepandemic (in order of biggestincreases): Paraguay, Greece,Cyprus, Thailand, CzechRepublic, Lithuania, Slovakiaand Guatemala. These countrieswere responsible for 1.4% of totalglobal audio streams in 2020.

CONSUMER TRENDSFROM ACROSS THE GLOBEMRC DATA’S MUSIC 360 REPORTS FROM FIVE WORLDWIDEterritories, conducted from late 2019 to mid-2020, showcase justhow diverse musical tastes (and consumption methods) can befrom country to country.JAPANLocal genres share listening time with Western trends, as J-pop, kayokyokuand J-rock all rank among the top genres for total listenership and fanship.POPULAR GLOBALSONGS THAT HAVE YETTO CHART ON THEU.S.-BASED HOT 100“Homura,”LiSA (Japan)139.4 millionon-demand audiostreams, 505,000downloadsThe JapaneseLiSAsinger’s(Visual China Group viaGetty Images)“Homura,” thetheme to animeseries Demon Slayer: Kimetsu no Yaibathe Movie: Mugen Train, broke the weeklystreaming record on Billboard Japan’sstreaming chart this year.“Jerusalema,” Master KG featuringBurna Boy & Nomcebo Zikode (SouthAfrica, Nigeria) 264.7 million on-demandaudio streams, 326,000 downloadsTOP GENRE LISTENERSHIP & FANSHIP AMONG MUSIC LISTENERS IN JAPANGenre fans (listen “often”)Listen to ANIME46%16%NIELSEN MUSIC/MRC DATA JAPAN MUSIC 360 NOVEMBER 2019the most time spent listening to AM/FM radio while driving.HOW GERMANS CONSUME MUSIC (% BY FORMAT USED PER WEEK)3%Other40%5%Streamingradio onlineListen tothe radio4%Music TV15%9%Digital library11%11%StreamingservicePhysical forms Streamingvideosof musicNIELSEN MUSIC/MRC DATA GERMANY MUSIC 360 DECEMBER 20196audio streams, 37,000 downloadsThe South Korean-Japanese girl group’slead single from October album EyesWide Open became a big hit in multipleterritories (for more on TWICE and theexplosion of Korean pop music, turn topage 31).audio streams, 23,000 downloadsRadio leads streaming as the top source of music discovery for Germans, withConcertlivestream“I Can’t Stop Me,” TWICE (SouthKorea, Japan) 114.2 million on-demand“Paradise,” Meduza & DermotKennedy (Italy/Ireland) 89.8 millionGERMANY2%The international hit first went viral viaa TikTok meme in June, sending averageweekly audio streams soaring by 3,117%globally (up from 285,000 the previousweek) to 9.19 million the week endingJune 25.45%31%OVERALL TIMELISTENING TO RADIOOVERALL TIMESTREAMING73%56%OVERALL TIMETEENS STREAMOVERALL TIMEMILLENIALS STREAMThe collaboration between Italianproducer Meduza and Irish singerKennedy was one of several internationaldance hits that resonated strongly withEuropean audiences despite globalclosures of nightclubs.“Mamichula,” Trueno & Nicki Nicolefeaturing Taiu & Tatool (Argentina)167.4 million on-demand audio streams,1,000 downloadsArgentine rapper Trueno scored his firstNo. 1 on the Billboard Argentina Hot 100with this Spanish-language single, whichalso topped the charts in Spain. The song’svideo was equally popular, with over 211.1million views on YouTube to date.

FRANCEFrench music listeners are loyal to local artists, perhaps driven by French languagequotas on radio, with French musicians comprising nearly half of weekly musiclistening. But among all age groups, teens are most likely to listen to more music inanother language versus their native tongue.BY THE NUMBERS: GLOBAL MUSIC LISTENERSHIP IN FRANCE45%20%68%Weekly listeningtime devoted toFrench artistsWeekly listening timedevoted to NorthAmerican artistsFans of North Americanmusic that listento U.S. Pop63%85%80%Fans of North Americanmusic that listento U.S. RockListen toVariétéFrançaiseListento FrenchPop“WHAT EMERGINGTRENDS FROM2020 WILL DEFINEMUSIC IN 2021?Local hip-hop scenes aregoing from strength tostrength. Our artists areincreasingly asking us tohelp them reach acrossborders and cultures totheir peers in other marketsto support cross-culturalcollaborations. Look at theamazing success of the Ayax Maluma remix of ‘Djadja.’I think we’ll see this trendgrow in 2021.Stu Bergen,President, Warner MusicInternationalNIELSEN MUSIC/MRC DATA FRANCE MUSIC 360 FEBRUARY 2020DEMOGRAPHIC PROFILE OF THE U.K. PODCAST FANNIELSEN MUSIC/MRC DATA U.K.MUSIC 360 DECEMBER 201965%43%84%71%53%42%MaleITALYTeens are more loyal to local artists thanmillennials, with Italian trap and Italian rap/hiphop among teens’ top five genres comparedwith house and punk for millennials.MarriedAges 18-49Live in Greater LondonChildren 18 in the houseGENRES MORE LIKELY TO REACHITALIAN TEENS AND MILLENNIALSTEENAGERSU.S. RAP/HIP-HOP78%71%71%67%ITALIAN RAP/HIP-HOPU.S. POPITALIAN TRAPNEAPOLITANRAP/HIP-HOPMonthly householdincome SEURBANUNITED KINGDOMPodcasts, which show great interest and growth potentialfrom U.K. teens and millennials, are most likely to beenjoyed by married males aged 18 to 49 in Greater London.7PUNKSYNTHWAVE31%NIELSEN MUSIC/MRC DATA ITALY MUSIC 360 JANUARY 2020

U.S. Catalog vs. Current Consumption(CATALOG IS DEFINED AS TITLES OLDER THAN 18 MONTHS)Catalog ShareTHE YEARIN METRICS2020 Catalog Total Audio Consumption552.0B2020 Current ShareGlobal On-DemandWEN Audio Song Streams1.8T2.2T2020 37.2%36.7%2020 Current Total Audio Consumption 22.6Global Digital2020 U.S. Digital Album Sales518.8M419.4M2020 277.7B320.6M2019 -19.2% CHG.39.3M34.4M2019 2020 U.S. Total Audio Consumption2020 U.S. On-DemandAudio Song Streams745.9B872.6B2019 2020 11.6% CHG.2019 2020 112.7M102.4M2020 U.S. Vinyl LP Sales2019 2020 17.0% CHG.U.S. Total Album Sales(PHYSICAL DIGITAL)73.5M68.0M2019 (ALBUM TEA ON-DEMAND AUDIO SEA)*678.1M756.8M-9.2% CHG.18.8M27.5MU.S. Digital Song Sales301.1M2019 2020 233.8M-12.5% CHG.-7.4% CHG. 46.2% CHG.-22.3% CHG.Please Note: Any year-over-year total volume figures cited in this report do notinclude video streams. Due to reporting methodology changes from a majorvideo provider in 2020, any year-over-year video streaming comparisons are notreflective of industry trends and therefore not included in this report.The term “total album equivalent consumption” describes the number of physicaland digital albums that were sold and the total number of album-equivalent songsfrom downloads and song streaming volume. For the sake of clarity, the definitionof total album equivalent consumption does not include listening to music onbroadcast radio or digital radio broadcasts.* SEA (stream-equivalent albums): 1,250 premium streams one album // 3,750 ad-supported streams one album; TEA (track-equivalent albums): 10 digital tracks one album.8VOLUME% CHG.U.S. Physical Album Sales(INCLUDES VINYL LPs)2019 15.5% CHG.NEW Song Sales2019 VOLUME% CHG.468.2B2019 2019 2019 17.962.8%63.3%2019

STREAMINGGROWTH TRENDS2020: THE YEAR COVIDCHANGED EVERYTHINGBEFORE THE WORLD SHUT DOWN, on-demand audio streaming was growingsteadily through early March, up 20% over the same period in 2019. Totalaudio consumption was up 15% in the first 10 weeks of the year. As behaviorsevolved and the majority of Americans spent 2020 working from home, audiostreaming finished the year with a 17% increase in year-over-year activity.CHILDREN’S MUSIC and Country were“2020 was unlike anyother year but through itall we saw a strength ofconsumption of both newmusic and catalogue. Latinmusic definitely had anincredible year and hip-hopand pop continued to be thedominant genres. Local musiccontinued to flourish all overthe world and through it all,people listened to as muchmusic as ever before. Finally,at-home activities (cooking,cleaning, working out)inspired new playlists. Thiswas a year where music wasthe great connector for all ofthe moments in our lives.”Jeremy Erlichthe first two big genre winners duringCo-Head of Music, Spotifylockdown, showing notable growth amida 5.7% decline in audio streaming forto streaming services, saw accelerated“With people spending timeat home, there’s been anincreased interest in gettingmore out of music — whetherit’s better sound or in-depthdetails about a track, musiclovers came to TIDAL for anenriched experience. WithHiFi membership, we’veseen significant growth —streaming of Master Tracksincreased by 40%.”growth of 21.4% from initial lockdownLior Tibonthe industry. Families turned to musicto keep their away-from-school kidsentertained, prompting a 5% increasein audio streams of Children’s musicduring the first week of lockdown thatsustained growth through the weekending May 7. Country, previously oneof the slowest genres to convert fansthrough the week of May 7, and endedthe year with a surge in share of on-COO, Tidal(Adobe Stock)demand audio streams, from 6.9% pre-“COVID to 7.5% post-lockdown.While COVID-19 disrupted almost everythingabout our daily lives, radio’s companionshipremained constant. As consumers soughttrustworthy information, comfort, andpersonal connection from their favoritepersonalities, talent and brands, theydiscovered new ways to connect with themon the RADIO.COM app, via smart speakers orthrough our various distribution partnerships.RADIO remained a keyvehicle for audiences toconsume music, evenas commutes and otherdaily routines shifted. Ina typical month, 61% ofconsumers said they stilllisten to music on overthe-air radio, with 51%Jeff Sottolanoof music listeners citingExecutive Vice President of Programming, Entercomover-the-air radio as a topmusic discovery source.9“This year was hugely difficultfor so many including themusic industry which wasdeeply impacted. Liveconcerts are the heartand soul of the musicindustry and the pandemicfundamentally changedthings. With in-personconcerts canceled andvenues closed, artists andfans turned to YouTube. Livebecame live-stream, andmy hope is that our scaleand tools helped artists andfans connect in new andmeaningful ways.”Lyor CohenGlobal Head of Music, YouTube

“It’s been an incredibly difficult year for everyone,and we knew that people were longing forsomething positive. Christmas music brings peopleback to a place where they feel good and havegreat memories. The feedback we have receivedat the station and on social media has beenoverwhelmingly positive.Steve SalhanyBrand Manager - Big 103 (WBGB-FM), Magic 106.7 (WMJXFM/HD2) and Mix 104.1 (WWBX-FM), Entercom BostonChristmas came even earlier in2020, as COVID-19 anxiety andpre-Election jitters promptedmany stations in major marketsto start adding holiday songs totheir playlists or converting toall-holiday stations as early as(Adobe Stock)Vice President-ElectKamala Harris andPresident-Elect Joe Biden( Jim Watson/AFP/Getty Images)November 1.The Nov. 7 confirmation that JOE BIDENwould become President-elect sparkedimpromptu celebrations nationwide andled to several big gains in consumption forthe unofficial anthems of those gatherings.IMarkkeyz x DJ Suede the Remix God’s“Lose Yo Job” saw the biggest single-daypercentage jump in on-demand audiostreams, surging 585.95% on Nov. 7 versusthe day prior, while YG & NIPSEY HUSSLE’s“FDT” captured the highest volume ofelection-related streams for the day, with2.06 million on-demand audio streams.10YGNipsey Hussle(Rich Fury/Getty Images)( JimmyFontaine)

THE TOP GENRE TRENDS, ARTIST AND SONGS THAT DEFIED THE ODDS OF 2020Music’s Big WinnersThe April 3 releaseCOUNTRY’SSTREAMINGSURGETof SAM HUNT’s firstalbum in six years,SOUTHSIDE, helpedusher in a recordstreaming week for thegenre, with 1.244 billionon-demand audiostreams in the weekending April 9. Thatsingle-week streamingHOUGH IT HAS PREVIOUSLYrecord was laterlagged behind othersurpassed the weekgenres in consumption onending July 9, whenstreaming services, CountryCountry songs achieved1.399 billion on-demandmusic saw a big spike this year asfans went digital in droves withoutbeing able to catch their favoriteacts live on tour.Huntaudio streams.(StevenWorster)Nearly one year after its Nov. 23, 2019, release date,Combs won Male Vocalist andAlbum of the Year at the CMAAwards in November.(Country Music Association)LUKE COMBS’ album What You See Is What You Getjumped back to No. 1 on the Billboard 200 chartfollowing its deluxe reissue on Oct. 23. The additional sixsongs helped the album achieve a new weekly streamingrecord for a country album at the time, earning 109,000equivalent album units in the week ending Oct. 29 —equaling 102.26 million on-demand streams for itssongs. Plus, it marked the first time a country albumhad the most audio streams across any genre on theBillboard 200 in a single week, with 95.6 million streams.11

COUNTRY STREAMINGGROWTH TRENDSBarrett(Kevin Mazur/Getty Images)Newcomer GABBY BARRETT’s“I Hope” became the firstdebut single by a woman to topBillboard’s Country StreamingSongs chart, rising from No. 4to No. 1 with a 7% increase to9 million streams on the chartdated April 11. A Charlie Puthremix of “I Hope” later helpedthe song become any act’s firstdebut single to top both theCountry Airplay and all-genreRadio Songs charts.“This year, and certainly duringthe pandemic, we have seentremendous growth in ourstreaming business. At AmazonMusic we have experienced analmost 40% growth year-on-year.Our fan base certainly trustsAmazon and voice has made ahuge difference. Apple has alsomade huge marketing stridesjumping into Apple Music Radioand utilizing our artists as hoststo bring in their fan bases. It’s areally smart strategy to mimic aradio experience that feels likelow-hanging fruit. The impactof SiriusXM joining the power ofPandora has also magnified overthe year, and Spotify has kepta stronghold on our youngestaudience. The pandemic haspushed our audience intothe YouTube funnel for artistdiscovery. YouTube remains themost important video providerand their livestreaming strategyhas been second to none.”Mike DunganChairman/CEO,MORGAN WALLEN became theUniversal Music Group Nashvillefirst artist to debut two titles indebuted at No. 3 and “Still Goin“Being quarantined at homefor more than eight months ismy obvious choice for biggestconsumer behavior that ledto streaming growth. We sawheightened activation andadoption on the hardware (Echo,Nest, HomePod, etc.) and thesoftware/service sides.”Down” entered at No. 8 onBen Klinethe Dec. 5-dated chart. BothEVP-General Manager,the top 10 simultaneously onBillboard’s airplay-, sales- andstreaming-based Hot CountrySongs chart (which began as anall-encompassing genre rankingin 1958). “Somebody’s Problem”tracks, released Nov. 20, areWarner Music Nashvillefrom Wallen’s upcoming double“The growth in country streamingwas partially a natural migration,but I believe the pandemicexpedited the timeline. Consumerswere suddenly at home more thanever and had more time on theirhands, meanwhile the touringindustry came to a halt but thedesire for country music didn’tchange. It put the migration tostreaming on the fast track.”album Dangerous, due Jan. 8,2021. They marked his seventhand eighth total Hot CountrySongs top 10s. Wallen’s Augustsingle “7 Summers” also brieflyheld the record for most firstweek streams by a solo Countrymale when it scored 23.5 millionWallen( John Shearer)streams the week ending Aug.Randy Goodman20, only to be eclipsed by Combs’Chairman & CEO, Sony Music Nashville“Forever After All” in November.12

LATIN ACHIEVES NEWSTREAMING SIZZLESStill riding high from aNicki Minaj remix of herbreakthrough hit“Tusa” (which wasstreamed 236.9million times inPANISH-LANGUAGE URBAN and pop music continued itsconvergence with the mainstream, as new albums from BadBunny and J Balvin spearheaded another year of growth for theLatin genre. Total audio consumption was up 26.9% year to date,including a 13.3% increase in on-demand audio streams since March 13.2020), KAROL Gachieved the mosthits of any femaleKarol G(Courtesy photo)Latin act in 2020.Other populartracks included “Caramelo”The Puerto Rican singer-rapper’s Feb. 29 album,YHLQMDLG, was 2020’s No. 12 most-consumedalbum, with 1.444 million equivalent albums earnedand 1.7 billion total on-demand audio streams(78.5 million total streams),“Bichota” (34.9 million totalstreams) and “Ay, Dios Mio!”(56.3 million total streams).tallied by its songs. Lead single “Yo Perreo Sola”was also the year’s most-streamed Latin song, with181.9 million on-demand audio streams.The project was followed up later in the year withNovember’s El Ultimo Tour del Mundo, which becameA remix of thethe first all-Spanish-language album to reach (as wellColombian singer’sfall single, “Hawái,”as debut at) No. 1 on the Billboard 200 in the chart’s64-year history, with 116,000 equivalent album unitsearned in the week ending Dec. 3.Beyond the United States, BAD BUNNY’s OctoberBad Bunny(Amy Sussman/BBMA2020/Getty Images)Maluma(Emma McIntyre/AMA2020/Getty Images)with The Weeknd,helped MALUMAachieve his highestcollaboration with Jhay Cortez, “Dákiti,” becamechart position on the Hot 100,the first Latin hit to top both of the global charts inleaping from No. 60 to No. 12 (onNovember, with 110.2 million streams and 4,000the chart dated Nov. 21), risingdownloads sold globally in the week ending Nov. 12.123% to 17.6 million streams.LATIN STREAMING GROWTH TRENDS13“During these times for music creators and fans alike, music isplaying an extremely important role in everyone’s lives. We’veseen Latin Audio streams out-pace the growth of the overallindustry by nearly 10%, fueled by artists like Karol G who hasthe number two streamed Latin song overall for 2020 (‘Tusa’)and is having a great moment with ‘Bichota.’ It is no secret thatLatinos over index the general market on video and musicconsumption. This year that behavior was more present, andthe numbers in the USA as well as globally show that.”“The beginning of the pandemic raised a levelof uncertainty for upcoming releases and productionof new music. However, as always, the Latino artisticcommunity persevered and established innovativeways to create new content and connect with theiraudience. Even during adverse circumstances, the Latinindustry has grown and developed a greater space in theglobal environment.”Victor González, President, Universal Music Latin EntertainmentPresident, Sony Music Latin U.S.Alex Gallardo

“HOW INDEPENDENT ARTISTSEMBRACED NEW PLATFORMS IN 2020Merlin’s members have always embraced new opportunities,even in challenging times. 2020 witnessed a heightened growthin user-generated content and social media. Merlin forged earlyadopter relationships in this space to support our members — wewere the first partner to sign a sound recording deal with Snap,leaned into Instagram Reels, partnered with Triller, and deepenedour YouTube relationship.Jeremy SirotaCEO, MerlinBANDCAMPOVINYLRECORD STORE DAY 2020 EVOLVED fromtwo key events in April and Novemberto a four-part series that continued“to generate big album sales forindependent stores and the music industry alike.The first threedrops (stagedAug. 29, Sept.NLINE RETAILER BANDCAMP started a popular series26 and Oct. 24)on the first Friday of every month since the start of thecombined to helpCOVID-19 pandemic, during which it waives its royaltygenerate 1.95fees to help independent artists earn crucial incomemillion in CD andfrom music and merch sales. The efforts resulted in 40 million invinyl album salesmusic and merch revenue back into the pockets of independentat indie stores inartists across nine days of the promotion, according to a Decemberthe United Statesannouncement from the company.— with 1.4138%, respectively,Record Store Day by andlarge brought vinyl backfrom the dead in 2008,so we are widely knownby music fans as the bestsource for getting vinyltoday. Because of this, thestores had the confidenceto innovate and figure outsafe ways for music fansto shop with them in theirstore or curbside. If theycouldn’t, because of thingslike lockdowns, they sold totheir customers online. Alltogether, they made for areally strong year.of overall indieMichael Kurtzstore CD andRecord Store Day co-foundermillion of thatin vinyl albumsales. Thosesums represent asizable 34% andvinyl album sales,and vinyl albumBridgers(Tim Mosenfelder/Getty Images)Rogers(Courtesyphoto)sales only, from July 31 through Oct. 29.The Black Friday 2020 event helped set anew record for the largest sales week for vinylSinger-songwriters PHOEBE BRIDGERS and MAGGIE ROGERS’ cover(1.253 million albums) since MRC Data beganof the Goo Goo Dolls’ “Iris,” released as a one-day charity exclusive onelectronically tracking the format in 1991.the platform on Nov. 13, debuted at No. 57 on the Nov. 28-dated HotThe milestone was surpassed again just three100 from 38,000 downloads in the week ending Nov. 19, earning bothweeks later, when holiday shopping led to a totalartists their first entry on the chart. All proceeds from the song wentof 1.841 million vinyl albums sold in the weektoward the national voting rights organization Fair Fight.ending Dec. 24 (up 28% from the previous week).14

THE ARTISTS WHO OUTPERFORMED A CROWDED MARKETPLACEMusic’s Big Winners‘Blinding Lights’ spoke to the worldin a time when it was most needed.That uplifting quality is undeniableand why nurses, families and kidswith their dogs were all postingdances showing their momentsof relief during these tough times.Great music and vision cuts throughalmost anything.The Weeknd(AMA2020/Getty Images)Wassim “SAL” SlaibyCEO - SALXCO XO RECORDSTHE WEEKNDTHot 100, eventually running up over 40weeks in the region (through the Jan. 9,2021-dated chart).At radio, “Blinding Lights” ledsong by a lead soloist.On the airplay, sales and streamingbased Hot R&B Songs chart, “BlindingLights” broke the record for the mostHE CANADIAN POP/R&B STARBillboard’s all-format Radio Songs chartweeks at No. 1, previously held by abroke several chart milestonesfor an unprecedented 26 weeks (fromtrio of songs with 20 weeks each atopwith his blockbuster singleApril 18 through Oct. 24), surpassingthe list, including one by The Weeknd“Blinding Lights.”the Goo Goo Dolls’ previous record ofhimself, “Starboy,” featuring Daft Punk.18 weeks at No. 1, with “Iris” in 1998.Also with 20 weeks in the lead: Drake’sEd Sheeran’s “Shape of You” for the“Blinding Lights” also crowned Adult“One Dance,” featuring WizKid and Kyla,most weeks spent in the top 10 of theTop 40 for 20 weeks, the most ever for aand Bruno Mars’ “That’s What I Like.”In September, the song surpassed15

“Swift(ACMA2020/Getty Images)Lil Baby has a self-awarenessand a brave vulnerabilityhe expresses as a lyricistand in his music. Peoplerecognize authenticity andfelt connected to Lil Baby— he met the moment in achallenging, uncertain andoften turbulent time.Ethiopia HabtemariamPresident - Motown Records /EVP - Capitol Music GroupLIL BABYfolklore and evermore both arrived at a time whenthe world needed them most. With an artist of TaylorSwift’s stature there is always tremendous excitementaround new music, particularly unexpected releases.The success of these two albums speaks more toTaylor’s talent as a songwriter and storyteller.Jim RoppoTHE RAPPER’S LATEFebruary album, My Turn,was one of the last majoralbums released justbefore the COVID-19 pandemic andfinished 2020 as the year’s mostconsumed album with 2.63 million

In this report, MRC Data is using a 52-week period for 2020, running from Jan. 3, 2020, through Dec. 31, 2020, as compared with the 2019 period c

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plan. The Dräger Mine Refuge Chamber (MRC 5000) answers the need for a cost effective, high quality chamber. Backed by expert Dräger service and support, the MRC 5000 is a safe haven of escape from contaminated air. Dräger Mine Refuge Chamber—MRC 5000 Innovative, portable life support system Extreme conditions call for extreme safety

The methodology for the MRC Kindergarten ROI study consisted of the following components: 1. Measuring and monetizing program benefits. This included using data from previous evaluations and other third-party sources to determine benefits. Benefits are realized across three stakeholder groups: MRC Kindergarten participants, MRC Kindergarten