Data di pubblicazione 07/09/2016
This annual report starts immediately with a surprise. It is no longer the Digital Music Annual Report but... Global Music Report. You will already understand the difference between one and the other, and what it means. It means that since 2015 (maybe even a year earlier) talking about the "digital" market no longer makes sense. Moore in the introduction focuses, as last year, on the problem of revenue for artists in a growing market. But Justin Bieber already appears on the second page. Here we allow ourselves a note: the world stars like Bieber have no problem, even if they did 1000 euros with Spotify, to bill travelling in concerts around the world. So no problem for the majors who use the record as an investment and concerts as a bill. What does Moore do?
Those who struggled to make the digital market "the" market were not the Biebers, they were the independents, who knew the potential of the music market once everyone would have a computer in hand. But now they have to play a new game, alone.
The story behind this annual seems to have come to an end, but between one major artist and another with photos and rankings as commercials we find some sporadic and interesting articles such as the classification of key platforms each portal of each country in the world. We learn that in Jamaica Deezer is more important than Youtube. This yes: it's for us.