UK record labels association, the BPI, have today (Thursday) published their annual yearbook, which reveals that catalogue tracks account for over half of 2018’s streams.
The book gives a detailed insight into UK recorded music in 2018, with facts figures and analysis.
All About the Music 2019 was compiled by Rob Crutchley, edited by Chris Green and features an introduction by the BPI’s chief executive officer Geoff Taylor.
In its evaluation of music consumption and trends, the book reveals that although newer music dominates the end-of-year chart, overall 57 percent of music played on streaming platforms was released pre-2017.
Queen’s Bohemian Rhapsody is the most popular track from the seventies, while Mr Brightside by The Killers remains the biggest track released in the noughties.
Geoff Taylor, chief executive, BPI and BRIT Awards, says: ‘In an age where entertainment consumption is increasingly fragmented, and with ever-fiercer competition in the attention economy, music demonstrates time and again that it has the power and appeal to cut through and engage people’s passions.
‘Streaming offers more dazzling choice of music than ever for audiences, but every now and then a body of work will strongly resonate with fans. Adele’s 25 and Ed Sheeran’s Divide are two recent examples – albums that captured the public’s imagination, combining relatability with classic song craft. In 2018 another set of songs can be added to that pantheon – the soundtrack of The Greatest Showman. Its dominance of the UK charts was remarkable: 24 (non-consecutive) weeks at number one, eight tracks from it featuring in the year-end top 100 singles chart and over 1.6m copies sold. Both The Greatest Showman and A Star Is Born showed that music and film can combine to powerful effect, but the success of Mamma Mia! Here We Go Again and Bohemian Rhapsody reminds us that older songs too can have a broad, pan-generational appeal.
‘Some commentators express concern for classic music in the age of streaming, but what 2018 has perhaps taught us is that context is key in its discovery – create imaginative situations in which to experience great music, and people will respond. This also applies to contemporary musicians: from Marshmello playing a set in Fortnite to the new wave of podcasts that lend fresh perspectives to both songs and artists, performers are finding different ways to connect with new audiences.”
‘The recorded music industry in the UK is showing consistent growth, driven by investment in new talent, innovative global marketing, and offering music fans outstanding choice, convenience and value. The outlook for the future remains positive, but there is still a long way to go to recapture lost ground. Long-term growth depends on robust Government action to tackle the Value Gap, promote investment, ensure online platforms take responsible action to reduce infringement, and secure the future talent pipeline by giving state school pupils the opportunity to discover and develop their talent.’
All About the Music 2019 is available free to all BPI members or it can be purchased from the BPI’s website bpi.co.uk
The book gives a detailed insight into UK recorded music in 2018, with facts figures and analysis.
All About the Music 2019 was compiled by Rob Crutchley, edited by Chris Green and features an introduction by the BPI’s chief executive officer Geoff Taylor.
In its evaluation of music consumption and trends, the book reveals that although newer music dominates the end-of-year chart, overall 57 percent of music played on streaming platforms was released pre-2017.
Queen’s Bohemian Rhapsody is the most popular track from the seventies, while Mr Brightside by The Killers remains the biggest track released in the noughties.
Geoff Taylor, chief executive, BPI and BRIT Awards, says: ‘In an age where entertainment consumption is increasingly fragmented, and with ever-fiercer competition in the attention economy, music demonstrates time and again that it has the power and appeal to cut through and engage people’s passions.
‘Streaming offers more dazzling choice of music than ever for audiences, but every now and then a body of work will strongly resonate with fans. Adele’s 25 and Ed Sheeran’s Divide are two recent examples – albums that captured the public’s imagination, combining relatability with classic song craft. In 2018 another set of songs can be added to that pantheon – the soundtrack of The Greatest Showman. Its dominance of the UK charts was remarkable: 24 (non-consecutive) weeks at number one, eight tracks from it featuring in the year-end top 100 singles chart and over 1.6m copies sold. Both The Greatest Showman and A Star Is Born showed that music and film can combine to powerful effect, but the success of Mamma Mia! Here We Go Again and Bohemian Rhapsody reminds us that older songs too can have a broad, pan-generational appeal.
‘Some commentators express concern for classic music in the age of streaming, but what 2018 has perhaps taught us is that context is key in its discovery – create imaginative situations in which to experience great music, and people will respond. This also applies to contemporary musicians: from Marshmello playing a set in Fortnite to the new wave of podcasts that lend fresh perspectives to both songs and artists, performers are finding different ways to connect with new audiences.”
‘The recorded music industry in the UK is showing consistent growth, driven by investment in new talent, innovative global marketing, and offering music fans outstanding choice, convenience and value. The outlook for the future remains positive, but there is still a long way to go to recapture lost ground. Long-term growth depends on robust Government action to tackle the Value Gap, promote investment, ensure online platforms take responsible action to reduce infringement, and secure the future talent pipeline by giving state school pupils the opportunity to discover and develop their talent.’
All About the Music 2019 is available free to all BPI members or it can be purchased from the BPI’s website bpi.co.uk
