Music consumption, including the sales of physical formats, rose significantly in 2021. But in a year in which Adele topped the UK album charts, is this trend benefitting everyone fairly?
New figures released today from BPI, the British music industry’s trade association, showed music consumption in the UK rose by 2.5% in 2021, as 159 million albums or their equivalent were listened to across all formats. Their data was sourced from The Official Charts Company.
Whilst streaming now accounts for a whopping 83% of UK music consumption, the sales of vinyl was also at its highest in three decades. Even cassettes – yes, cassettes (remember them?) – showed their enduring appeal with sales were up 19% on the previous year. 185,000 of them were sold, the highest total since 2003.
Streaming now accounts for a whopping 83% of UK music consumption
This continued growth in the sales of physical formats has been a rising and well-documented trend in recent years – even to the point of running into supply issues and other disruptions last year. And it’s a trend that shows little sign of abating in 2022, with last year representing a 14th year of consecutive year for increased vinyl sales.
As a somewhat smug aside, Brits led the way in sales too, with eight of the best-selling albums being from British artists, including Adele (of course) and the seemingly-everywhere Ed Sheeran.
Remember cassettes? Well they might be back after sales in 2021 were up 19% on the previous year.
Arguably more interesting, however, is the BPI’s emphasis on the ability for more artists ‘to develop and sustain successful careers in music’ on account of ‘harnessing streaming and unlocking its potential’.
Last year, 1,918 artists were streamed over 10 million times in the UK – a 25% increase in the past two years – which reportedly generates at least the same royalties as 10,000 CD sales. By this metric, the report claims, ‘nearly twice as many artists are now earning meaningful royalties as could do so in the CD era’.
More interesting is the BPI’s emphasis on the ability for more artists ‘to sustain successful careers in music’
Ergo, their assessment that the music industry is becoming easier to break into and live off.
Geoff Taylor, Chief Executive of BPI, BRIT Awards & Mercury Prize, has said: ‘As our lives continue to be disrupted, the past 12 months have reminded us again of the important role that recorded music plays in our lives.
‘At the same time, the rise of streaming has empowered more artists than ever – from all backgrounds and eras – to build new fanbases around the world and to forge successful careers in music, while record labels have continued to provide the investment and support needed for British talent to thrive and reach a truly global audience.
‘Success today is gauged in the multi-millions, sometimes billions of streams, which generate micropayments that build over time, in line with relative popularity and demand from fans.
These are perhaps designed to quell the growing chorus of disquiet at the distribution of streaming royalties
‘This year’s growth shows there is a huge appetite for music, and we believe that by working together we can increase the value of the whole music market, so that streaming can support even more artists in the future.’
These are lofty heights for streaming in 2022 and beyond but designed, perhaps, to quell the growing chorus of disquiet at the distribution of streaming royalties. Last year, amidst the precarious position of lockdowns for musicians, the #BrokenRecord campaign gained momentum, calling for changes to the music streaming ecosystem in order to benefit the artists and songwriters.
ArrayBy one estimate, a single Spotify stream amounted to just £0.004. And when considering the typical 80/20 split between label and artist, 1,000 streams roughly accrues a meagre 80p – barely a scratch on even a cup of coffee.
‘Micropayments’ is certainly one way of putting it – ‘bugger all’ is another.
In June, over 75 artists wrote to the PM calling for legal change to remedy the power of streaming services
And this isn’t a little-known protest. In June, over 75 artists wrote to the Prime Minister (including all the artists Boris Johnson had selected on his Desert Island Discs, just to tug at his heart strings), calling for legal change to remedy the power of streaming services and to ‘put the value of music back where it belongs – in the hands of music makers.’
More recently, in November the #BrokenRecord founder Tom Gray gave evidence to MPs on the impact of streaming, along with Radiohead guitarist Ed O’Brien and Elbow’s frontman Guy Garvey.
Over 75 artists including The Rolling Stones add their names to the #FixStreaming call.
It’s time for @BorisJohnson to put the value of music back where it belongs – in your hands.
Read more ➡️ https://t.co/1ViDLI2eZE
Sign the petition ➡️ https://t.co/FwC1iobMNf#BrokenRecord pic.twitter.com/0S5crB0VLF
— Musicians' Union (@WeAreTheMU) June 7, 2021
Scratch beneath the glossy rise in vinyl sales, too, and – just as those with over 10million streams earn anything significant – it’s also an area that has in fact been dominated by the big-swingers.
Take Adele’s chart-topping 30, for instance, which saw 80% of its chart sales in December be comprised of physical format sales. Overall, across 40 weeks, the dominant vinyl-seller was also the Official Charts No.1 Album artist.
Across 40 weeks, the dominant vinyl-seller was also the Official Charts No.1 Album artist
Drew Hill, MD Proper Music Distribution, has said: ‘It’s been an incredible year for CDs, vinyl and cassettes as they continued to drive albums up the charts.
‘This year, nearly 90% of unique #1 albums hit the top spot off the back of a physical sales majority, with some hugely impressive numbers from the likes of Adele, whose new album maintained its chart lead with an increasing physical majority share, and ABBA, who claimed the title of fastest-selling vinyl of the century. It’s further proof that in this golden era of choice, music fans really cherish an album they can hold!’
Last year, SoundCloud trialled a new ‘fan-powered’ model, which saw Portishead earn up to 500% more for a track.
Certainly, it would be naïve to suggest music isn’t a popularity contest – ultimately, that’s exactly what it is, especially the charts. But perhaps in 2022, music industry heads can implement or devise more ways to level the playing field.
Take SoundCloud’s trial of a new ‘fan-powered’ model, for instance, which last year saw Portishead earn up to 500% more, under a system that pays artists based on fans’ actual listening habits, rather than rates distributed out based on market share.
Undoubtedly, in these times of trouble, tedium and challenge, music has provided immense solace – the proof is in the data. But maybe with such new ways of more equitable royalty distribution, pleasing both fans and artists, they’ll be striking the right note.
