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Older Age Groups Increasingly Embrace Audio Streaming Services – IMI Report

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IMI, the organisation that represents the recorded music industry in India, today released the Digital Music Study 2019, which examines the ways in which music consumers aged 16 – 64 engage with recorded music in India.

Report highlights:

  • Music listening is up. Respondents typically spend 19.1 hours per week listening to music – higher than the global average of 18 hours. This equates to about 2.7 hours – or the equivalent of listening to 54 three-minute songs – daily.
  • Most people (80%) identify as ‘loving’ or being ‘fanatical’ about music. Much higher than the global average of 54%.
  • Older age groups increasingly embrace audio streaming services. Engagement with audio streaming in India is strong, with 90% of all respondents accessing a music streaming service in the past month – up by about 7% over 2018. The highest rate of growth for engagement is in the 16 – 24-year-old age group, with 97% of that group accessing a music streaming service in the past month (+10% on 2018).

Copyright infringement remains a challenge for the music ecosystem. 67% of all surveyed used unlicensed methods to listen to or obtain music in the past month, while 63% used illegal stream ripping services – the leading form of music piracy.

Commenting on the findings in the report, Mr Aditya Gupta- Director, Aditya Music, said, “Thanks to cheap data and smartphone penetration Music consumption in India is growing regionally. The growth rate will be higher in the regional segment due to a low smartphone base. The increase in consumption of catalogues of music in languages also serves as a reminder of the diversity of India and reaffirms our belief that regional music is the new champion of India’s soft power.”


Mandar Thakur- COO, Times Music, remarked, “Through our various associations with local companies, Times Music, owns a significant market and leadership share in Punjabi music and its enriching to see it at #4 in this report. We have witnessed noteworthy growth in subscriber numbers, organic views and much better visibility of this genre of music. Moreover, since its inception, Times Music has been committed to the growth of India’s own Spiritual and Devotional music, and it’s great to see these cultural genres thriving in the age of streaming.”

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Mr Devraj Sanyal, Managing Director & Chief Executive officer, Universal Music Group, South Asia, said, “At universal music group, we have seen the success of the Vyrl Platform and the change it’s bought into the music industry by enabling an artist first ecosystem. We believe that hip-hop too is a global phenomenon whose time has come in India to get into and win in the mainstream streamscape & compete with film & non-film music alike. With that, we launched “Mass Appeal India”, a global partnership between Nas’s label Mass Appeal and UMG India & South Asia to be the first of its kind global imprint for Indigenous HipHop for the world. Our first superstar release of Divine has already shown us how HipHop is popping like any major song & we’re seeing it as we get ready to drop his debut album in a few days. There is a lineup of incredible HipHop talent who will showcase their talent in the coming months on the MassAppealIndia label.”

Mr Vinit Thakkar- Senior Vice President-India & South Asia- Universal Music Group, commented, “Universal Music India’s VYRL Originals has been leading the creation of a culture and category of non-film music in India by being a true artist-first initiative which nurtures and develops singer-songwriters. Today it has the most enviable roster of talent across new & established artists from across the region. In a very short period, Vyrl has become to NonFilmMusic what Bollywood is to film music by enabling an ecosystem which is primed for artists as they spread their music into the streamscape with the same ability across mediums as film music has had for ages.”

Mr Blaise Fernandes, President and CEO, IMI, said, “The Digital Music Study 2019 has revealed some illuminating trends in India: the 80% music fandom base, the highest in the world, is the main reason for the 21.3% growth rate India achieved over the past years. The top 2 favourite genres are Bollywood New and Bollywood Old. The fastest growing segments are of consumers in the age groups 25-34 and 35-44, which is the perfect launch pad for a premium subscription-based model in India. 67% piracy rates remain a matter of grave concern.”

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The full report is available at https://www.ifpi.org/downloads/Music-Listening-2019.pdf

The Indian Music Industry (IMI) is the apex body that represents the interest of the music companies a.k.a. Record labels on a pan-India basis. IMI is an IFPI affiliate which is the global body that represents the recorded music industry worldwide. All major music labels in India are part of this association. IMI is the leading force in India’s fight against music piracy and establishing IP rights.

Methodology

IFPI conducted global research in April-May 2019 which explored the way consumers engage with and access music across licensed and unlicensed services.

Fieldwork questioned a demographically representative sample of the online population aged 16-64 in the following territories: Argentina, Australia, Brazil, Canada, France, Germany, Italy, Japan, Mexico, Netherlands, New Zealand, Poland, Russia, South Africa, South Korea, Spain, Sweden, United Kingdom and United States. The study was also conducted in China and India but results from these two countries are not included in “global” figures. These twenty-one territories accounted for 92.6% of global recorded music market revenues in 2018, according to IFPI’s Global Music Report 2019.

In total, 34,000 internet users were surveyed with higher numbers of respondents in larger markets. Nationally representative quota samples of between 1,000-3,000 respondents were set in accordance with online population size and demographic structure, as determined by the latest respective census data in each territory. This ensured that a standard error of +/- 3% was achieved throughout the data, at a 95% confidence level. Study design, construction, and analysis was conducted by IFPI with fieldwork organised by AudienceNet.

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