David Boyle - The State of Dance v09
Transcript of David Boyle - The State of Dance v09
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IMS Consumer Report 2012 A world tour of dance music consumers
Based on 750,000 interviews
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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
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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.
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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.
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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)
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DANCE
Brian Eno
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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?!?!
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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
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Part 1: Our audience
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our audience: People who like a lot or love dance / electronic music
Self-defined
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our audience: We THINK this is
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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 …
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our audience: In the last year:
34% 26%
been to a club with guest DJs
been to an electronic / dance fesAval
People who like a lot or love dance / electronic music
… but actually …
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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)
People who like a lot or love dance / electronic music
… but actually …
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our audience: 2% 7% 10%
People who like a lot or love dance / electronic music
… but actually …
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our audience: 30% of
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our audience:
We spend too much of our time
on ‘products’ and marketing for this group
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70% of our audience:
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70% of our audience:
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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
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70% of our audience:
We don’t spend nearly enough of our time on ‘products’ and marketing
for this group
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Part 2: So what?
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30% Engaged 70% Less-‐engaged
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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
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§ 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
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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’
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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
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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
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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
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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
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§ Compila:on ‘brands’
§ Brand partnerships
§ Other ar:st brands
§ Our ar:sts’ brand
§ Build a brand 5 Exam
ples
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Example: Compila:on ‘brands’
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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?
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Example: Brand partnerships
But pick appropriate brands
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Example: Brand partnerships
A movie of David Guetta’s story was made. 15 million people have seen it. Thanks to Burn
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Example: Brand partnerships
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:
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Example: Other ar:st brands
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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)
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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
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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
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Spend
Typical album
Targeted Media
Product
Genera:on Y Rave Culture Purists Electro Poppers
Size
Example: Build a brand
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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 )
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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
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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
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)
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Passion for different genres
60%
70%
80%
90%
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
CLASSICAL
COUNTRY
CLASSICAL
COUNTRY
BLUES./.JAZZ./.SOUL
BLUES./.JAZZ./.SOUL
URBAN
URBAN
DANCE / ELECTRONIC
DANCE / ELECTRONIC
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60%
70%
80%
90%
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
CLASSICAL
COUNTRY
CLASSICAL
COUNTRY
BLUES./.JAZZ./.SOUL
BLUES./.JAZZ./.SOUL
URBAN
URBAN
DANCE / ELECTRONIC
DANCE / ELECTRONIC
Passion for different genres
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
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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
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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
Each grey line is a different country
Average
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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
Each grey line is a different country
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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'
Each grey line is a different country
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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
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
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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
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
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
Note: more countries are available. But can’t be compared directly because of differences in the research
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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
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
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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
Passion and size: the ‘biggest developed’ market
Less-engaged consumer
s
almost as passionate
about dance music
as engaged consumers
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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
Page 57
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?”
Page 58
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?”
Page 59
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
Page 60
Part 4: The brand image of dance
What rejectors of dance think
Page 61
The global brand image of dance Fans Rejectors
Note: Based on research in ten countries
Page 62
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!
Page 63
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)
Page 64
Passion'for'Dance'/'Electronic'music'amongst''All'People''in'each'country
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]
Page 65
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.
Page 66
IMS Consumer Report 2012 A world tour of dance music consumers
Based on 750,000 interviews
Page 67
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
Page 68
APPENDIX: Country-‐by-‐country genre-‐age charts for other countries
Page 69
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
Page 70
POP
ROCK
50%
60%
70%
80%
90%
BEFL
OTHER
CLASSICALBLUES / JAZZ / SOUL
COUNTRY
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
Page 71
POPROCK
40%
50%
60%
70%
80%
NO
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
Page 72
POP
ROCK
50%
60%
70%
80%
90%
NZ
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
Page 73
POPROCK
50%
60%
70%
80%
90%
DK
OTHER
CLASSICAL
BLUES / JAZZ / SOUL
COUNTRY
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
Page 74
POP
ROCK50%
60%
70%
80%
90%
ES
OTHER
CLASSICAL
BLUES / JAZZ / SOUL
COUNTRY
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
Page 75
POP
ROCK
50%
60%
70%
80%
90%
DE
OTHER
CLASSICAL
BLUES / 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
Page 76
POP
ROCK
50%
60%
70%
80%
90%
FR
OTHER
CLASSICALBLUES / JAZZ / SOUL
COUNTRY
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
Page 77
POP
ROCK
50%
60%
70%
80%
90%
NL
OTHER
ROCK
CLASSICALBLUES / JAZZ / SOUL
COUNTRY
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
Page 78
POPROCK
50%
60%
70%
80%
90%
BEWA
OTHER
CLASSICAL
BLUES / JAZZ / SOUL
COUNTRY
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
Page 79
POP
ROCK
50%
60%
70%
80%
90%
CA
OTHER
CLASSICAL
BLUES / JAZZ / SOUL
COUNTRY
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
Page 80
POPROCK
50%
60%
70%
80%
90%
FI
OTHER
CLASSICAL
BLUES / 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
Page 81
POP
CLASSICAL
30%
40%
50%
60%
JP
OTHER
ROCK
BLUES / JAZZ / SOUL
COUNTRYURBAN
DANCE / ELECTRONIC
0%
10%
20%
30%
13 to 15 16 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people
Page 82
POP
ROCK
50%
60%
70%
80%
90%
SE
OTHER
CLASSICAL
BLUES / JAZZ / SOUL
COUNTRY
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
Page 83
POPROCK
50%
60%
70%
80%
90%
IT
OTHER
CLASSICAL
BLUES / JAZZ / SOUL
COUNTRY
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
Page 84
POPROCK
CLASSICALDANCE / ELECTRONIC
50%
60%
70%
80%
90%
100%
ZA
OTHER
BLUES / JAZZ / SOUL
COUNTRY
URBAN
DANCE / ELECTRONIC
0%
10%
20%
30%
40%
50%
13 to 15 16 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people
Page 85
POP
ROCK
CLASSICAL
40%
50%
60%
70%
80%
IN
OTHER
BLUES / JAZZ / SOUL
COUNTRY
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
Page 86
POP
ROCK
50%
60%
70%
80%
90%
GR
OTHER
CLASSICAL
BLUES / JAZZ / SOUL
COUNTRY
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
Page 87
POP
ROCK
40%
50%
60%
70%
80%
Avg
OTHER
CLASSICAL
BLUES / 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