David Boyle - The State of Dance v09

IMS Consumer Report 2012 A world tour of dance music consumers

Based on 750,000 interviews

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Summary (1 of 4) Sec:on 1: Our audience(s): Don’t forget the 70% §  We think that our audience has money, is passionate and has =me to engage with dance ... but actually only 30% of

people passionate about dance / electronic music are ‘engaged consumers’ §  70% of people passionate about dance / electronic music are ‘less engaged consumers’: they are either too young to

have money / be clubbing, have children who have got in the way or are just not cool §  We spend too much of our =me thinking about the 30% who are engaged consumers and not enough thinking about

the 70% who are less-‐engaged consumers Sec:on 2: So what? ... Experiences §  We can be beIer at delivering experiences. This is mostly for the engaged consumers, but if we’re smart about it we

can also reach many of the less-‐engaged with them, too ... Guidance §  We need to be beIer at delivering guidance. This is mostly for the less-‐engaged consumers who desperately need

guidance from trusted sources to avoid them losing contact with dance music

Summary (2 of 4) Sec:on 3: Where in the world §  Note: all data used in this sec=on will be made available aMer Wednesday here:

hIp://links.emi.com/imsconsumerreport –  7 high level genres, 45 detailed ‘sub-‐genres’, Decade-‐by-‐decade appeal of Rock, Pop, Dance / Electronic –  By age, gender, age-‐gender, all people. Metrics: Millions of people and percent of people –  Australia, Belgium (Flanders and Wallonia), Brazil, Canada, Denmark, Finland, France, Germany, Greece, India,

Italy, Japan, Mexico, Netherlands, New Zealand, Norway, Portugal, South Africa, Spain, Sweden, UK, US §  ... consistent themes

–  Passion grows from age 13 to age 24. We should work hard to get dance music into the lives / spaces that work for young people to grow their passion sooner.

–  Passion peaks between ages 16 and 24. We should super-‐serve these people to increase their engagement (see ‘engaged consumers’ above)

–  There is a steady decline in passion from age 25. We should recognise their needs and meet their needs with dance music to slow the decline (see ‘less engaged consumers’ above)

–  There is a language problem. The most popular dance genre amongst people passionate about dance / electronic music is ... ‘dance’ -‐ they don’t know how beIer to describe what they like.

Summary (3 of 4) Sec:on 3: Where in the world (con:nued) §  ... US

–  Dance / electronic music has only half the passion that Rock music does, even for young people. It has a similar level of passion to Urban music. It is rivalled / beaten by Country music, even for young people.

–  The US has liIle passion for dance (16th of 17), it has the most people who are passionate (1st of 17). A small increase in passion would make a big difference in the number of people who are passionate. Is that what we’ve seen in recent years: just a small change in passion that meant a big new audience?

§  ... UK –  Passion for Dance / Electronic music rivals that for Rock music up to age 25. It’s consistently more loved than

Urban music. It has no rivals beyond Rock, Pop and Urban. –  One of the most passionate (4th of 17) and biggest (3rd of 17): the ‘biggest developed market’.

§  ... US vs UK –  The most passionate age group (16-‐24) are only half as passionate (57%) about dance / electronic music as they

are about the biggest genre. In the UK they’re almost as passionate about dance as they are about the genre they’re most passionate about (87%).

–  There is no evidence that dance is ‘older’ or ‘younger’ in the UK or the US. The paIern by age is similar in the UK and the US -‐ it’s just propor=onally bigger in the UK.

–  In the UK dance is preIy mainstream (less engaged consumers are about 75% as passionate about dance as the engaged consumers are) whereas in the US it’s not very mainstream at all (less-‐engaged consumers are only about 56% as passionate about dance as engaged consumers are)

–  Passion for the different genres of dance music are similar in the US and the UK. Except for Drum n Bass which is more popular in the UK. And except for Techno because the word is oMen used in the US to describe dance / electronic music overall.

Summary (4 of 4) Sec:on 4: The brand image of dance

–  People passionate about dance / electronic music describe it as: Cool, Upbeat, Energe=c and Edgy. –  People not passionate about it describe it as: Boring, Annoying, Intrusive, Superficial and Noisy. –  The same ar=st is oMen described very differently in different countries. Always as ‘Energe=c’, but some=mes as

Edgy and Upbeat (France), some=mes Cool (Germany, UK), some=mes Catchy (UK)

DANCE

Brian Eno

We also data.

§  EMI is on the way to a million high-‐quality, detailed, interviews with all sorts of people all around the world about music –  Twelve people around the world are being interviewed for EMI

at any given moment. 24h a day, 7 days a week

§  We love how helpful the results are, alongside skills and judgement –  Hear the data’s challenges and be smart about which / how you go get them

§  We’d like to share some of that today (and every year … if you like it) –  This presenta:on and the detailed data behind it will be online for you. We

hope you find other pa]erns and uses for it. Please share!

Wait: What?!?!

IMS Consumer Report 2012

1.   Our audience(s)

2.   So what?

The role of experiences

The role of guidance

3.   Where in the world Agen

da

Part 1: Our audience

our audience: People who like a lot or love dance / electronic music

Self-defined

our audience: We THINK this is

our audience:

6%

I enjoy music primarily from going out to dance or Music for me is all about nightlife and going out

12%

Paid for digital music often

100%

80%

60%

40%

20%

0%

100%

80%

60%

40%

20%

0%

People who like a lot or love dance / electronic music

… but actually …

our audience: In the last year:

34% 26%

been to a club with guest DJs

been to an electronic / dance fesAval



our audience: in the last year:

58% 34% 26% 15%

been to a regular club night

been to a club with guest DJs

been to an electronic / dance fesAval

been abroad for music (e.g. Ibiza)



our audience: 2% 7% 10%



our audience: 30% of

our audience:

We spend too much of our time

on ‘products’ and marketing for this group

70% of our audience:

60% Pop music is fun,

it makes me feel good

58% Music is important to me,

but not more than other interests or

I like music, but it does not feature heavily in my life

our audience: People who like a lot or love dance / electronic music

70% of our audience:

We don’t spend nearly enough of our time on ‘products’ and marketing

for this group

Part 2: So what?

30% Engaged 70% Less-‐engaged

30% Engaged 70% Less-‐engaged

Focused on Engaged consumers (but not only the

m!)

Don’t forget guidance Focused on Less-engaged Consumers (but not only them!)

Change the balance, depending on the consumers you’re after

§  Gedng consumers closer to the lifestyle. Swedish House Mafia’s Take One

§  From ‘live’ to an experience to die for. Swedish House Mafia’s Masquerade Motel

§  Bringing Live to the Mainstream. Deadmau5’s Earl’s Court USB

§  Engaging fans online. Deadmau5

§  Merch that fits the lifestyle. Pacha 5 Exam

ples

Every type of consumer found Take One in a way that works for them: exclusive cinema screenings, on TV, internet exclusives, in the deluxe album, as an iPad app and in book form.

Gedng consumers closer to the lifestyle with Swedish House Mafia’s Take One

We don’t usually reach so many different types of consumer with one

set of ‘assets’

From ‘live’ to an experience to die for with Swedish House Mafia’s Masquerade Motel

Swedish House Mafia took a residency in Ibiza’s Pacha nightclub to another level with the branding and mys=que of Masquerade Motel. It became more than ‘live’, more than clubbing. It became it’s own event, that they took on tour to Miami, London and elsewhere.

We don’t usually make ‘live’ in to such

an experience

Bringing Live to the Mainstream with Deadmau5’s Earl’s Court USB

!

!!

Deadmau5 carved out a special sec=on of his Earl’s Court gig to play his own material so that we controlled the rights to record it and make it available to people on his iconic U5B s=cks along with other exclusive content.

We don’t usually let people experience gigs without being there

Engaging fans online Deadmau5

It takes a special ar=st to want to let fans close the way Deadmau5 does. His Facebook feed is one of the most engaging. By following it you feel closer to him and his music. You get to know him and he gets to know his fans by constantly engaging them and sharing their comments and contribu=ons.

We don’t usually really engage our online fans

Merch that fits the lifestyle Pacha

Their merch range recognises that: 1.  People want to make dance part of

their lifestyle, outside clubs / music 2.  Many consumers have aged, have

children, but s=ll want to express themselves through their Pleasure-‐Seeker days

We often don’t think beyond tshirts

§ Compila:on ‘brands’

§ Brand partnerships

§ Other ar:st brands

§ Our ar:sts’ brand

§ Build a brand 5 Exam

ples

Example: Compila:on ‘brands’

Example: Brand partnerships

1,000,000,000 cans of Coke are drunk

every day

Brands have enormous reach: How does that compare to the number of people

listening to your music?


But pick appropriate brands


A movie of David Guetta’s story was made. 15 million people have seen it. Thanks to Burn


85% of fans felt it would enhance

their percep:on of David

? In a couple of weeks we’d asked thousands of David Guetta’s fans in four countries what they thought. Getting the right partnership for the artist and the brand is key

+ Research:

Example: Other ar:st brands

David Gue]a: 32,442,691 likes

284,922,169 x9 (each offered guidance to a different audience in different genres

from a different trusted source)

Collaborators:

Let’s take a moment to think about the reach this guidance achieved:

Based on collaborators from the last two albums: Kelly Rowland (1,933k), Fergie (6,212k), LMFAO (17,288k), will.i.am (3,089k), Rihanna (56,043k), Ne -‐ Yo (8,100k), Dirty South (132k), Estelle (165k), Nicki Minaj (19,027k), Taio Cruz (7,371k), Ludacris (4,556k), Snoop (18,046k), Lil Wayne (37,918k), Usher (30,417k), Akon (39,237k), Tibaland (2,418k), Chris Brown (21,703k), Jennifer Hudson (3,949k), Jessie J (6,836k), Sia (482k)

Example: Our ar:sts’ brand Deadmau5 has such a clear and recognizable brand that less-‐engaged consumers can easily remember him and have something to iden=fy him by. But an ar=st’s brand is not just about imagery. What's the story?

Most artists don’t have a brand

that fans can remember

Example: Build a brand

From visionaries like KraMwerk and Brian Eno, the development of synth-‐pop stars like Depeche Mode and Human League, the explosion of dance music culture in the late 80’s to the rise of global superstars like DaM Punk and David GueIa

During 2012 we will reach out to all fans of Electronic Music with an ambi=ous campaign

Over 500 albums will be featured, between them having sold 119,000,000 copies

We have developed products and promo=ons targeted at specific consumers groups, be they cuqng edge tastemakers or lapsed fans. Fans will be engaged by a variety of trade marke=ng assets, price campaigns, via devoted social media channels, commercial partnerships and compe==ons

Spend

Typical album

Targeted Media

Product

Genera:on Y Rave Culture Purists Electro Poppers

Size

Example: Build a brand

Part 3: Where in the world

43%$

57%$

48%$45%$

28%$24%$

20%$

0%$

20%$

40%$

60%$

80%$

100%$

13$to$15$ 16$to$24$ 25$to$34$ 35$to$44$ 45$to$54$ 55$to$64$ 65+$

US$

59%

87%

71%

62%

46%

31%

21%

UK#

US#

(And v )

50%

60%

70%

80%

0%

10%

20%

30%

40%

50%

13 to 15 16 to 20 21 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people

ROCK

ROCK

POP

POP

COUNTRY

COUNTRY

BLUES&/&JAZZ&/&SOUL

BLUES&/&JAZZ&/&SOUL

CLASSICAL

CLASSICAL

URBAN

URBAN

DANCE / ELECTRONIC

DANCE / ELECTRONIC

Passion for different genres

50%

60%

70%

80%

0%

10%

20%

30%

40%

50%


ROCK

ROCK

POP

POP

COUNTRY

COUNTRY

BLUES&/&JAZZ&/&SOUL

BLUES&/&JAZZ&/&SOUL

CLASSICAL

CLASSICAL

URBAN

URBAN

DANCE / ELECTRONIC

DANCE / ELECTRONIC

The state of danc

e: Passion for different genres

Only half the pass

ion

of rock / pop

(even amongst

young people)

Similar passion

to Urban

Rivaled / beaten

by Country

(even amongst

young people)


60%

70%

80%

90%

0%

10%

20%

30%

40%

50%


ROCK

ROCK

POP

POP

CLASSICAL

COUNTRY

CLASSICAL

COUNTRY

BLUES./.JAZZ./.SOUL

BLUES./.JAZZ./.SOUL

URBAN

URBAN

DANCE / ELECTRONIC

DANCE / ELECTRONIC

60%

70%

80%

90%

0%

10%

20%

30%

40%

50%


ROCK

ROCK

POP

POP

CLASSICAL

COUNTRY

CLASSICAL

COUNTRY

BLUES./.JAZZ./.SOUL

BLUES./.JAZZ./.SOUL

URBAN

URBAN

DANCE / ELECTRONIC

DANCE / ELECTRONIC


The state of danc

e:

Rivals the passion

of rock / pop

up to age 25

Consistently

more loved

than Urban

No rivals beyond

rock, pop

and urban

0%#

20%#

40%#

60%#

80%#

100%#

13#to#15# 16#to#24# 25#to#34# 35#to#44# 45#to#54# 55#to#64# 65+#

Dance#/#Electronic#passion#as#a#percent#of#the#most#popular#genre#

Our share of music passion around the world

Each grey line is a different country

60%$

75%$

67%$

54%$

40%$

32%$

26%$

0%$

20%$

40%$

60%$

80%$

100%$

13$to$15$ 16$to$24$ 25$to$34$ 35$to$44$ 45$to$54$ 55$to$64$ 65+$

Dance$/$Electronic$passion$as$a$percent$of$the$most$popular$genre$

Clear peak at 16-24

Steady decline

Growing passion Grow it quicker! In their world, social spaces

Super-serve them to increase the peak

Meet their needs to slow decline

Our share of music passion around the world


Average

Avg$

43%$

57%$

48%$45%$

28%$24%$

20%$

0%$

20%$

40%$

60%$

80%$

100%$

13$to$15$ 16$to$24$ 25$to$34$ 35$to$44$ 45$to$54$ 55$to$64$ 65+$

Dance$/$Electronic$passion$as$a$percent$of$the$most$popular$genre$ US$

The US is at the bo]om of the pack … Dance / Electronic passion as a percent of the most popular genre

Dance is only about half as popular as the most popular genre

Note: Based on 12,000 interviews in January 2012

The opportunity for growth FAR outweighs any recent achievements


Avg$

43%$

57%$

48%$45%$

28%$24%$

20%$

0%$

20%$

40%$

60%$

80%$

100%$

13$to$15$ 16$to$24$ 25$to$34$ 35$to$44$ 45$to$54$ 55$to$64$ 65+$

Dance$/$Electronic$passion$as$a$percent$of$the$most$popular$genre$ US$

59%

87%

71%

62%

46%

31%

21%

Dance / Electronic passion as a percent of the most popular genre

… the UK scores 50% be]er than the US

Dance is almost the

most popular genre!

Same ‘shape’ as the US! Not ‘younger’ / ‘olde

r'


The biggest d

ance m

arkets

The most passionate dance m

arkets

Passion'for'Dance'/'Electronic'music'amongst''All'People''in'each'country

1st BEFL US 1st

2nd NZ DE 2nd

3rd CA UK 3rd

4th UK FR 4th

5th BEWA JP 5th

6th ES IT 6th

7th SE ES 7th

8th DK CA 8th

9th FR AU 9th

10th NO NL 10th

11th NL SE 11th

12th AU BEFL 12th

13th DE DK 13th

14th IT NO 14th

15th FI FI 15th

16th US BEWA 16th

17th JP NZ 17th

RankedGbyGmillionsGofGpeopleRankedGbyGpercentGofGpopulation

42%G

40%G

38%G

38%G

36%G

36%G

35%G

35%G

34%G

33%G

33%G

32%G

30%G

29%G

29%G

25%G

11%G

G64GG

G22GG

G20GG

G19GG

G17GG

G15GG

G14GG

G12GG

G6GG

G4GG

G3GG

G2GG

G2GG

G2GG

G2GG

G1GG

G1GG


1st BEFL US 1st

2nd NZ DE 2nd

3rd CA UK 3rd

4th UK FR 4th

5th BEWA JP 5th

6th ES IT 6th

7th SE ES 7th

8th DK CA 8th

9th FR AU 9th

10th NO NL 10th

11th NL SE 11th

12th AU BEFL 12th

13th DE DK 13th

14th IT NO 14th

15th FI FI 15th

16th US BEWA 16th

17th JP NZ 17th


42%G

40%G

38%G

38%G

36%G

36%G

35%G

35%G

34%G

33%G

33%G

32%G

30%G

29%G

29%G

25%G

11%G

G64GG

G22GG

G20GG

G19GG

G17GG

G15GG

G14GG

G12GG

G6GG

G4GG

G3GG

G2GG

G2GG

G2GG

G2GG

G1GG

G1GG


1st BEFL US 1st

2nd NZ DE 2nd

3rd CA UK 3rd

4th UK FR 4th

5th BEWA JP 5th

6th ES IT 6th

7th SE ES 7th

8th DK CA 8th

9th FR AU 9th

10th NO NL 10th

11th NL SE 11th

12th AU BEFL 12th

13th DE DK 13th

14th IT NO 14th

15th FI FI 15th

16th US BEWA 16th

17th JP NZ 17th


42%G

40%G

38%G

38%G

36%G

36%G

35%G

35%G

34%G

33%G

33%G

32%G

30%G

29%G

29%G

25%G

11%G

G64GG

G22GG

G20GG

G19GG

G17GG

G15GG

G14GG

G12GG

G6GG

G4GG

G3GG

G2GG

G2GG

G2GG

G2GG

G1GG

G1GG


1st BEFL US 1st

2nd NZ DE 2nd

3rd CA UK 3rd

4th UK FR 4th

5th BEWA JP 5th

6th ES IT 6th

7th SE ES 7th

8th DK CA 8th

9th FR AU 9th

10th NO NL 10th

11th NL SE 11th

12th AU BEFL 12th

13th DE DK 13th

14th IT NO 14th

15th FI FI 15th

16th US BEWA 16th

17th JP NZ 17th


42%G

40%G

38%G

38%G

36%G

36%G

35%G

35%G

34%G

33%G

33%G

32%G

30%G

29%G

29%G

25%G

11%G

G64GG

G22GG

G20GG

G19GG

G17GG

G15GG

G14GG

G12GG

G6GG

G4GG

G3GG

G2GG

G2GG

G2GG

G2GG

G1GG

G1GG


1st BEFL US 1st

2nd NZ DE 2nd

3rd CA UK 3rd

4th UK FR 4th

5th BEWA JP 5th

6th ES IT 6th

7th SE ES 7th

8th DK CA 8th

9th FR AU 9th

10th NO NL 10th

11th NL SE 11th

12th AU BEFL 12th

13th DE DK 13th

14th IT NO 14th

15th FI FI 15th

16th US BEWA 16th

17th JP NZ 17th


42%G

40%G

38%G

38%G

36%G

36%G

35%G

35%G

34%G

33%G

33%G

32%G

30%G

29%G

29%G

25%G

11%G

G64GG

G22GG

G20GG

G19GG

G17GG

G15GG

G14GG

G12GG

G6GG

G4GG

G3GG

G2GG

G2GG

G2GG

G2GG

G1GG

G1GG

Note: more countries are available. But can’t be compared directly because of differences in the research


1st BEFL US 1st

2nd NZ DE 2nd

3rd CA UK 3rd

4th UK FR 4th

5th BEWA JP 5th

6th ES IT 6th

7th SE ES 7th

8th DK CA 8th

9th FR AU 9th

10th NO NL 10th

11th NL SE 11th

12th AU BEFL 12th

13th DE DK 13th

14th IT NO 14th

15th FI FI 15th

16th US BEWA 16th

17th JP NZ 17th


42%G

40%G

38%G

38%G

36%G

36%G

35%G

35%G

34%G

33%G

33%G

32%G

30%G

29%G

29%G

25%G

11%G

G64GG

G22GG

G20GG

G19GG

G17GG

G15GG

G14GG

G12GG

G6GG

G4GG

G3GG

G2GG

G2GG

G2GG

G2GG

G1GG

G1GG

A small increase in passion will go a LONG way

Li]le passion, but the biggest market

Is that what we’ve seen in recent years? (Small increase?)

Less-engaged only half

as passionate as engaged


1st BEFL US 1st

2nd NZ DE 2nd

3rd CA UK 3rd

4th UK FR 4th

5th BEWA JP 5th

6th ES IT 6th

7th SE ES 7th

8th DK CA 8th

9th FR AU 9th

10th NO NL 10th

11th NL SE 11th

12th AU BEFL 12th

13th DE DK 13th

14th IT NO 14th

15th FI FI 15th

16th US BEWA 16th

17th JP NZ 17th


42%G

40%G

38%G

38%G

36%G

36%G

35%G

35%G

34%G

33%G

33%G

32%G

30%G

29%G

29%G

25%G

11%G

G64GG

G22GG

G20GG

G19GG

G17GG

G15GG

G14GG

G12GG

G6GG

G4GG

G3GG

G2GG

G2GG

G2GG

G2GG

G1GG

G1GG

Passion and size: the ‘biggest developed’ market

Less-engaged consumer

s

almost as passionate

about dance music

as engaged consumers

87%$ 86%$83%$

79%$ 78%$74%$ 74%$ 72%$

69%$ 67%$ 66%$ 65%$ 64%$

57%$ 56%$ 55%$

DK$ BEFL$ BEWA$ ES$ CA$ UK$ NO$ SE$ NZ$ FR$ FI$ DE$ NL$ AU$ US$ JP$

How$passionate$are$mainstream$consumers$about$Dance$/$Electronic$(as$%$of$how$passionate$engaged$consumers$are)$

How mainstream is dance / electronic music?

Most Mainstream (Less-engaged are

almost as passionate as engaged consumers!)

Least mainstream (Less-engaged are as half as passionate as engaged consumers!)

Less-engaged consumers

almost as passionate

about dance music

as engaged consumers Less-engaged

only half as passionate as engaged

UK: pretty mainstream. US: still niche

Dance&

Electronic&

Drum&n&Bass&Dubstep&Hardcore&/&Hard&Dance&

House&

Trance&

Techno&

0%&

10%&

20%&

30%&

40%&

50%&

60%&

70%&

80%&

90%&

13&to&15& 16&to&24& 25&to&34& 35&to&44& 45&to&54& 55&to&64& 65+& All&people&

Percent'of'US'dance'fans'that'are'passionate'about'each'sub4genre'

Which dance genres pop and where?

The total is more interesting than the age breakdown

Dubstep is the most targeted

Language

“what type? I don’t know. Just ‘dance’, ain’t it?”

Dance&

Electronic&Drum&n&Bass&

Dubstep&

Hardcore&/&Hard&Dance&

House&

Trance&

Techno&

0%&

10%&

20%&

30%&

40%&

50%&

60%&

70%&

80%&

90%&

13&to&15& 16&to&24& 25&to&34& 35&to&44& 45&to&54& 55&to&64& 65+& All&people&

Percent'of'UK'dance'fans'that'are'passionate'about'each'sub4genre'

Which dance genres pop and where?

The total is more interesting than the age breakdown

Dubstep, Drum n Bass very targeted

“what type? I don’t know. Just ‘dance’, isn’t it?”

68%$

46%$

25%$

22%$

19%$

36%$

21%$

52%$

67%$

42%$

40%$

25%$

18%$

36%$

25%$ 31%$

Dance& Electronic& Drum&n&Bass& Dubstep& Hardcore&/&Hard&Dance&

House& Trance& Techno&

Dance&genres&amongst&All&People&

US$ UK$

UK-‐US differences in dance genres? The similarities are bigger

than the differences

Part 4: The brand image of dance

What rejectors of dance think

The global brand image of dance Fans Rejectors

Note: Based on research in ten countries

Beyond ‘energe:c’: countries’ appreciate different things How one major dance artist is seen in different countries

Note: we research many artists signed to other labels as well as EMI artists. Please don’t try to guess who this is!

IMS Consumer Report 2012 Summary 1.   Our audience(s): Don’t forget the 70%

2.   So what?

The role of experiences: five examples

The role of guidance: four examples

3.   Where in the world: country-‐by-‐country (focus on US vs UK)


1st ZA US 1st

2nd BEFL DE 2nd

3rd GR UK 3rd

4th NZ FR 4th

5th CA JP 5th

6th UK IT 6th

7th BEWA ES 7th

8th ES CA 8th

9th SE AU 9th

10th DK NL 10th

11th FR ZA 11th

12th NO SE 12th

13th NL GR 13th

14th AU BEFL 14th

15th DE DK 15th

16th IT NO 16th

17th FI FI 17th

18th US BEWA 18th

19th JP NZ 19th

RankedHbyHmillionsHofHpeopleRankedHbyHpercentHofHpopulation

53%H

42%H

41%H

40%H

38%H

38%H

36%H

36%H

35%H

35%H

34%H

33%H

33%H

32%H

30%H

29%H

29%H

25%H

11%H

H64HH

H22HH

H20HH

H19HH

H17HH

H15HH

H14HH

H12HH

H6HH

H4HH

H4HH

H3HH

H3HH

H2HH

H2HH

H2HH

H2HH

H1HH

H1HH

Please contact [email protected] for more info on the data or to share what you have done with it.

Take the data. Have fun with it! Country-‐demographic-‐genre data online:

hIp://links.emi.com/imsconsumerreport

Please share what you do with it! And please shout if you want other data or if we can help with other research. [email protected]

Take the data. Have fun with it! Country-‐demographic-‐genre data online:

hIp://links.emi.com/imsconsumerreport

Please share what you do with it! And please shout if you want other data or if we can help with other research. [email protected]

7 high level genres

Metrics: Millions of people and percent of people

45 detailed ‘sub-‐genres’

Decade-‐by-‐decade appeal of Rock, Pop, Dance / Electronic

Australia, Belgium-‐Flanders, Belgium-‐Wallonia, Brazil, Canada, Denmark, Finland, France, Germany, Greece, India, Italy, Japan, Mexico, Netherlands, New Zealand,

Norway, Portugal, South Africa, Spain, Sweden, UK, US

By age, gender, age-gender, all people

Please contact [email protected] for more info on the data or to share what you have done with it.

More info on the data used here Overview

§  EMI Music conducts regular, high quality online interviews with people around the world. We have over 750,000 interviews at the moment and are heading rapidly towards a million. The interviews were conducted online, but EMI tries to reach people as representa=ve of the overall popula=on as possible. This usually works preIy well. But in some countries, this isn't possible and the interviews aren't as representa=ve as we'd like (ZA, GR for example)

More info on the data

§  EMI has been conduc=ng large, regular online interviews of consumers since early in 2009. These interviews have helped to drive EMI’s deep understanding of the music industry and has deeply touched how we’ve helped our ar=sts around the world and at all levels over that =me. By really understanding the music market we have beIer understood how to help our ar=sts to be successful in those markets. By having rich data available we have been able to help more ar=sts more quickly, accurately and globally that we would otherwise have been able to. EMI has become very good at using this data alongside its skills and judgement to make decisions. Geqng that balance right is difficult in any industry and especially in music.

§  This report aims to share some of the key data from those interviews to enable others to benefit and in the hope that many eyes will bring new insights.

The online research is:

§  High quality: since research agencies were used to iden=fy high quality respondents and to filter out people not taking the interview seriously

§  Detailed: across the approximately twenty minutes, we cover a very wide range of music-‐related issues, aqtudes and behaviours

§  Interes:ng: all the ques=ons were scripted by EMI and so almost every issue and ques=on that was on our mind made it into a survey at some point

§  Global: Data is available in Australia, Belgium, Brazil, Canada, Germany, Denmark, Spain, Finland, France, Greece, India, Italy, Japan, Mexico, Netherlands, Norway, New Zealand, Portugal, Saudi Arabia, Sweden, UK, US, South Africa

§  Large: each research project has a minimum of 3,000 interviews and usually has 5,000 in big countries. Some have more than 10,000 interviews

Subjects covered

§  This data set covers consumers' passion for genres of music. But in the larger data set we have literally covered every subject we thought interes=ng to the music industry overall (not just the recorded music industry). Some of the subjects covered include:

–  Demographics, life stage, educa=on, geography, …

–  Interest and passion for music overall and by genre and sub-‐genre

–  Aqtudes and behaviours regarding music discovery, engagement and consump=on. E.g. piracy, streaming, CDs, YouTube, …

–  Media consump=on and what’s useful for music discovery. E.g. radio, music magazines, blogs, social networking, twiIer, ...

–  Awareness, apprecia=on and engagement with specific ar=sts

–  Apprecia=on, familiarity and brand percep=on for specific pieces of music and videos

APPENDIX: Country-‐by-‐country genre-‐age charts for other countries

POP

ROCK

50%

60%

70%

80%

90%

AU

OTHER

CLASSICALBLUES / JAZZ / SOULCOUNTRY

URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%

13 to 15 16 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people

POP

ROCK

50%

60%

70%

80%

90%

BEFL

OTHER

CLASSICALBLUES / JAZZ / SOUL

COUNTRY

URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%


POPROCK

40%

50%

60%

70%

80%

NO

OTHER


URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%


POP

ROCK

50%

60%

70%

80%

90%

NZ

OTHER


URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%


POPROCK

50%

60%

70%

80%

90%

DK

OTHER

CLASSICAL

BLUES / JAZZ / SOUL

COUNTRY

URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%


POP

ROCK50%

60%

70%

80%

90%

ES

OTHER

CLASSICAL

BLUES / JAZZ / SOUL

COUNTRY

URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%


POP

ROCK

50%

60%

70%

80%

90%

DE

OTHER

CLASSICAL

BLUES / JAZZ / SOULCOUNTRY

URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%


POP

ROCK

50%

60%

70%

80%

90%

FR

OTHER


COUNTRY

URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%


POP

ROCK

50%

60%

70%

80%

90%

NL

OTHER

ROCK


COUNTRY

URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%


POPROCK

50%

60%

70%

80%

90%

BEWA

OTHER

CLASSICAL

BLUES / JAZZ / SOUL

COUNTRY

URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%


POP

ROCK

50%

60%

70%

80%

90%

CA

OTHER

CLASSICAL

BLUES / JAZZ / SOUL

COUNTRY

URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%


POPROCK

50%

60%

70%

80%

90%

FI

OTHER

CLASSICAL


URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%


POP

CLASSICAL

30%

40%

50%

60%

JP

OTHER

ROCK

BLUES / JAZZ / SOUL

COUNTRYURBAN

DANCE / ELECTRONIC

0%

10%

20%

30%


POP

ROCK

50%

60%

70%

80%

90%

SE

OTHER

CLASSICAL

BLUES / JAZZ / SOUL

COUNTRY

URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%


POPROCK

50%

60%

70%

80%

90%

IT

OTHER

CLASSICAL

BLUES / JAZZ / SOUL

COUNTRY

URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%


POPROCK

CLASSICALDANCE / ELECTRONIC

50%

60%

70%

80%

90%

100%

ZA

OTHER

BLUES / JAZZ / SOUL

COUNTRY

URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%

50%


POP

ROCK

CLASSICAL

40%

50%

60%

70%

80%

IN

OTHER

BLUES / JAZZ / SOUL

COUNTRY

URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%


POP

ROCK

50%

60%

70%

80%

90%

GR

OTHER

CLASSICAL

BLUES / JAZZ / SOUL

COUNTRY

URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%


POP

ROCK

40%

50%

60%

70%

80%

Avg

OTHER

CLASSICAL


URBAN

DANCE / ELECTRONIC

0%

10%

20%

30%

40%


David Boyle - The State of Dance v09

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