Michael Metzger 🔜 GamesCom

The Future of Music Streaming: Predictions and Trends 🎶 Ready to ride the wave of the future with your tunes? 🚀 Dive into our latest take on music streaming evolution - it's where beats meet bytes! 🎧 Don't miss out on trends that'll rock your playlist. #MusicStreamingFuture #AudioInnovation #StreamingTrends #NextGenMusic #wcgblogs #wcgeneration #wcgempire #wcgentertainment

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Luminate's 2024 Midyear Music Report is out! It dives deep into the first half of 2024, exploring key trends that shaped the industry. The report highlights the continuing rise of streaming, the evolving landscape of live entertainment, the growing influence of global markets and the changing nature of artist fanbases. Some highlights follow: 🎵 US On-Demand Audio Streams were up >8% over H1 2023 🌎 Latin is the fastest-growing genre in US ODA streaming compared to H1 2023 👩‍🎤 43 of 46 artists with 1B+ US On-Demand Audio streams in the first half of 2024 had major distribution listed on their most-streamed track 🎙 Indie artists made up 62% of all artists who accumulated between 1M and 10M US On-Demand Audio streams in H1 of 2024 🎸 According to Luminate’s consumer research data, live music events made up 64% of all music-related money spent amongst US music listeners 🎮 Analysis of select tracks included in Fortnite Festival announcements showed an average lift of 9% in ODA streaming 📺 Usage of YouTube Shorts grew between Q2 2023 and Q2 2024, closing the gap of TikTok's lead amongst US music listeners 🌎 Artists from Mexico, Brazil and France increased their Global Audio streaming share the most in the first half of 2024 compared to FY 2023 🎶 Premium streaming accounted for 58% of total On-Demand streaming share, meaning Ad-Supported streams made up 42% 💿 The Top 10 US physical albums of 2024 carried an average of seven different LP variants, 13 CDs and two Cassettes Access the full report here: https://lnkd.in/g4nSZ6BC Thank you to the whole Luminate team who delivered this including: Jaime Marconette, Meghan Fell Avanzino, Jimmy Harney, Nick Lanzafame, Alexia Chicles, Alexandra Chan, Paul Tuch and Tyler Moore!

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Global on-demand audio streams surged by 15.1% to a staggering 2.3 trillion in the first half of 2024, marking a significant uptick in the music streaming industry. Within this total, U.S. streams accounted for 665.8 billion, showcasing an 8% year-over-year increase. Interestingly, the U.S. streams represent less than 30% of the worldwide total, signaling accelerated growth in international markets. This rapid expansion is not only reshaping the industry but also driving music content IP revenue upwards. #MusicStreaming #MusicIndustryGrowth

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The UPROXX newco is a smart media M&A rollup. Music and culture focus + a strong leadership team. I'm bullish on them doing well by *brands and fans*, and getting immediate revenue traction based on their WMG YouTube media sales partnership. In my newsletter tomorrow, I explain my insights on the deal, key questions I'm asking, why I think UPROXX STUDIOS is setup for success. For now, let's review the key deal details... UPROXX STUDIOS OVERVIEW �� A new “brand solutions studio” that “connects brands with talent, cultural arenas, and audiences”  • Founded by media veterans Jarret Myer (CEO), Rich Antoniello (Exec Chairman), and will.i.am (Chief Visionary Officer) • Result of acquisitions of Uproxx, HipHopDX, Dime Magazine, and other Warner Music Group media assets • Reaches 170M+ monthly US visitors and generates 12B+ monthly US video views POST DEAL OPS • “Expect significant investments in our brands, team, and the experiences we offer” • Includes the excl license to represent WMG’s YouTube inventory for all US media sales  • Will integrate will.i.am’s FYI AI tech and FYI radio into ops UPROXX DIVISIONS • Uproxx – Millennial-focused culture media brand and production co (acquired by WMG in 2018) • HipHopDX – Digital mag of hip hop music criticism and news (acquired by WMG in 2020) • Dime Magazine – Digital mag of American basketball lifestyle (acquired by Uproxx in 2015) • FYI – productivity tool designed to serve Creatives. Combines messaging and collab tools with file mgmt and content pub features NEWCO VALUE PROP  • Access to A-list stars via WMG YouTube inventory + UPROXX superfan communities gives brands and advertisers new ways to participate in music culture • FYI AI tech will enable creation of AI StoryLabs, a new branded content and social media mgmt unit within UPROXX Studios  • "Merging the agility and freedom of an independent entity with the reach and resources of a major music label.” UPROXX HISTORY • f/k/a as Uproxx • Founded 2008 by Jarrett Meyer and Brian Bater (also co-founded Rawkus Records in 1996) • Acquired by male-focused media ad network Woven Digital in 2015 • Rebranded to Uproxx Media, Jarrett became GM • Bought by WMG in 2018 • Price undisclosed, but previous Uproxx Media investment was ~$43M • Value prop of acquisition was to “create engaging new experiences for young consumers, global promotional possibilities for brands, and innovative marketing opportunities for artists” • WMG exec Max Lousada and Uproxx co-founder Jarrett Myer used to work together at Rawkus Records WMG RELATED HISTORY • Announced 600 layoffs in Feb 2024, incl potential sale of Uproxx and HipHopDX • Also wound down its podcasting brand Interval Presents and social media publisher IMGN • Overall faced challenges in its O&O and digital brand sales biz -- I'm the founder of RockWater Industries. We do M&A and strategy advisory for media, agencies, and creator economy. My DMs are open.

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Next round! Did you know that the music industry is proving to be a lucrative investment for funds? According to a recent article by Music Business Worldwide, the value of 1% in the Hipgnosis Songs Fund is worth a staggering $15.1 million. That's not bad at all! With Concord still bidding on the fund for $1.51 billion, it's clear that the value of music is not to be underestimated. #musicindustry #investmentopportunities #hipgnosissongsfund#musicacquisition#

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Do not miss my latest article in OTTVerse on the the global growth of sports viewing on FAST/AVOD and how the consumption of sports content has undergone significant transformation!

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Had a great time speaking on the “How Gaming is Revolutionizing Entertainment” panel!  I shared a few proof points (see below) – especially interesting given the uncertainty surrounding theatrical releases, streaming subscriber growth and superhero premieres.  Bottom line:  Players want more of the characters, stories and worlds they love! 🎮 ARCANE / LEAGUE OF LEGENDS – The first entertainment move from Riot Games gave players what they’d been asking for – stories that bring the world to life in ways as compelling and dramatic as the gameplay itself.  Created by two OG Rioters as a love letter to fans, Arcane premiered in 2021 as a Top 10 Netflix series in 87 markets, won Netflix and Riot their 1st animated series Emmy🏆 – and blew away everyone’s expectations. 🎮 THE LAST OF US – The 2023 premiere of this close adaptation of the 2013 narrative game was HBO’s 2nd largest series premiere since 2010, pulling in 4.7 million viewers Day 1 and 40 million viewers in 2 months – and bringing home 8 Emmy wins🏆. 🎮 FIVE NIGHTS AT FREDDY'S – The 2023 day-and-date PG-13 movie release based on the 2014 game brought tweens and tweens to theaters on opening weekend – 81% of the audience was 25 years old or younger, 58% male and 42% female – for a shared fright-night experience that ultimately earned $296 million at the global box office and ranked as the #1 horror movie of the year and #1 Blumhouse release ever🤯.  The over 25 year old crowd opted to stream at home, giving Peacock its #1 viewership and subscriber release to date in the US. 🎮 THE SUPER MARIO BROS. MOVIE – This 2023 theatrical release based on the 1985(!) game drew in a 4-quad audience and grossed $1.3 BILLION at the global box office – the 1st gaming adaption to break $1B at the box office – and ranked as the #1 Illumination movie ever (bigger than Minions and Despicable Me, and erasing the the disappointment of the 1993 Super Mario movie)🤯. 💡My recommendation to entertainment development execs for opportunities beyond console gaming?  Look to Roblox for original IP hits with built-in audiences (and give me a call to help build out a robust 360 global franchise😉). Shoutout to fellow speakers Derick Tsai , Darion Lowenstein and Jasper Brand who offered amazing insights and recommendations for IP developers looking to expand their footprint and raise funds.  And thanks to moderator Justin Shenkarow for posing great questions and Alfie Rustom for organizing the event!

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“Sony Music Entertainment is set to acquire the catalog of legendary rock band Queen in a landmark deal worth GBP £1 billion (USD $1.27 billion at current exchange rates). That’s according to Hits, which reported on Wednesday (June 19), citing sources, that Sony Music has emerged as the winning buyer for Queen’s recording and publishing rights, as well as royalties from previous deals with Disney Music Group and Universal Music Group. Disney owns the band’s recorded music catalog in North America, while UMG has a global distribution agreement with Disney. Separately, Queen band members Brian May, Roger Taylor, and John Deacon – plus the Freddie Mercury estate – each own equal shares in the company Queen Productions Ltd, which owns the group’s recording catalog outside the US and Canada, Music Business Worldwide noted in a report last year. UMG, as Disney’s distributor, will reportedly retain distribution rights in North America, although Sony will receive the royalties. UMG’s worldwide distribution rights will then transfer to Sony in 2026 or 2027, making Sony Music the sole distributor and owner of all Queen content globally, Hits explained. The deal also reportedly includes name and likeness rights, opening doors for merchandise and other ventures. Meanwhile, Queen’s founding members, May and Taylor, who continue to tour with vocalist Adam Lambert, will reportedly retain control of revenue from live performances.” Read the full article for more: #Queen #SonyMusic #UMG #DisneyMusicGroup #UniversalMusicGroup #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz #Creators #Artists

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“Warner Music Group (WMG) CEO Robert Kyncl has come out in favor of a US Senate bill that would crack down on unauthorized deepfakes, arguing that the technology could ruin lives, reputations and businesses if left unchecked. Although many in the music business are embracing AI, it’s also the case that “generative AI is appropriating artists’ identities and producing deepfakes that depict people doing, saying, or singing things that never happened,” Kyncl will tell a subcommittee of the Senate Judiciary Commitee on Tuesday (April 30). “Through AI, it is very easy for someone to impersonate me and cause all manner of havoc,” Kyncl said, according to his pre-prepared remarks shared with MBW. “They could speak to an artist in a way that could destroy our relationship. They could say untrue things about our publicly traded company to the media that would damage our business.” #AI #ArtificialIntelligence #Legal #GenerativeAi #GeAi #Music #MusicBusiness #Musicians #Musica #MusicIndustry #Musique #Musik #MusicLicensing #WMG #MusicVideos #Artists #MusicBiz #Streaming #StreamingServices #StreamingMedia #WarnerMusicGroup #USCongress #USA

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“…music copyright valuation continues to grow at an accelerated pace. The global valuation ascribed to music copyright reached $41.5bn, according to industry economist Will Page. This is 14.5% more than 2022. More folks are streaming music than ever before. Vinyl sales are up. Concert ticket sales surpassed 2019’s figures, according to Live Nation. And beneath all of this are the songs, or copyrighted works. Without them, there would be no tours, no vinyl records and no streaming services. Funds that invest in this intellectual property are expected to continue to see a return. But across the industry, this is not the case.” “There are reasons for this - based both on data and perception. Qualitatively, the way the music industry - as a monolith - is perceived continues to be challenged. For example, in BBC’s daily news podcast, Global Story, a report on Taylor Swift referred to the music industry as ‘in crisis’ despite the macroeconomic data arguing otherwise. This is supported by the evidence of burgeoning inequality. While arenas and stadiums celebrate a bumper year, small music venues in the UK suffered their “worst year in a decade” according to the Music Venue Trust. Music education hubs - often the places where music is first created - are being cut by two-thirds in 2024-2025. However, quantitatively, the data reveals a different story. Music listenership is up, according to the IFPI. Revenue collections from CISAC, the international trade body representing collective management organizations was up 28% in 2022. Simply, more music would mean more return, especially for firms that own much of the music that is consumed, such as funds like Hipgnosis, Round Hill or Primary Wave or the three multinationals, Universal Music Group, Warner Music and Sony Music. However, debt is now more expensive, and liabilities are outstripping return. Listening to more music is not enough.” #CMOs #CISAC #IFPI #Artists #UK #RecordingRights #Performers #Royalties #MusicRoyalties #Music #Musica #MusicIndustry #Musique #Musik #Copyright #Copyrights #Songs #Songwriters #Recordings #MusicPublishing #Streams #Streaming #MusicStreaming #LiveMusic #Global #RecordedMusic #RecordLabels #IndieMusic

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📺 Video streaming is evolving, with integration into production becoming more efficient. ⚽Live events like sports and TV demand high quality, reliability, and minimal latency. 📱Lagging on your latency is really not done anymore in 2024 for any serious OTT provider. 📡Obviously low latency is also crucial for contribution. This session with JWP (JW Player) in Eindhoven explores solutions and their performance. This evening I'm driving to LAB-1 at the Keizersgracht 19 in Eindhoven to attend the event https://lnkd.in/eampY5f9. The following agenda is planned; - Peter Bruggink from Media-Anywhere: Discussing Subframe Latency Web Streaming technology as an alternative to ST 2110. - Erik Buitinga from NPO: Addressing Low Latency Streaming for live subtitling. - Andy Wilson from M2A Media: Orchestrating live streaming events for a global audience. - Jeroen Elfferich from Livery Video: Presenting a different approach to live streaming. - Marco van de Veen from JWP (JW Player) : Mastering Live Event Workflows in OTT Apps Looking forward meeting some of you and listening to your inputs! Also looking forward seeing familiar faces!

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Information is key

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Global Music Trends: How Streaming Is Shaping Genre Popularity 🎶 Dive into the beats of change with our latest piece on 'Global Music Trends'! 🌍 Discover how streaming is remixing genre popularity. Tune in, turn up, and stay ahead of the curve with us! 🎧✨ #wcgblogs #wcgeneration #wcgempire #wcgentertainment #MusicTrends #StreamingSounds #GenreEvolution #HitPlay #Trendsetters

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Curious to see how people will choose the songs to invest in. Will it be knowledge of the music industry or an understanding of financial markets. At the end of the day, someone will look like a genius. #musicbiz #JKBX #musicindustry #stockmarket #investing

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