That means, Jonathan Dickins wants Spotify to change policy
of not allowing some albums to be restricted to paying subscribers only.
Back in 2012, Adele was willing to have her album
"21" available on the streaming music service. But Spotify would have
had to change its whole strategy to accommodate her which is why Spotify turned
down Adele’s 21.
So what does Adele’s 21 end up? In 2011, Adele released her
critically-acclaimed (and high-grossing) album, 21. Adele and her label held
back on releasing the album to the free service because Spotify refused to
temporarily lock the album under the service’s premier tier subscription level
($9.99 a month). So in the end, Adele famously wouldn’t let her album 21 be
streamed on Spotify until long after it was released which is why Adele’s 21
went on to sell more than 30 million records worldwide. Smart call, Adele.
Let’s continue.
Adele‘s manager Jonathan Dickins is speaking out to discuss
the situation with streaming, which he calls “the future, whether people like
it or not.”
“Personally, I think streaming’s the future, whether people
like it or not, but don’t believe one size necessarily fits all with
streaming,” said Jonathan Dickins, speaking at the Web Summit conference in
Dublin this afternoon as he added (via Billboard). “To get around the situation
with someone like Taylor Swift — and Spotify won’t do it — is that maybe there
is a window between making something available on the premium service earlier
than its made available on the free service.”
“What’s interesting is that people take things down off
Spotify, yet if I search now for Taylor Swift on YouTube, within the space of
30 seconds I can have the whole Taylor Swift [album] streamed. Some of it is
ad-supported, so there is revenue, and some of it’s not,” Jonathan continued as
he was responding to a question about Taylor Swift’s back catalogue being
removed from Spotify earlier in the week.
“Spotify have always been pictured as the bad guys in this,
but the biggest music streamer out there is YouTube, without a doubt,” he said,
pointing out that when artists or labels remove music from Spotify, it is often
still easy to find it on YouTube.
“If I make a search now for Taylor Swift on YouTube, give me
30 seconds and I can have the whole Taylor Swift album there streamed. Some of
it’s ad-supported, so there is revenue, and some of it’s not,” he said.
He elaborated on his theory that one size doesn’t fit all
when it comes to streaming, suggesting that Spotify could “make it easier for
themselves” by relenting in its policy of having albums available to all its
users, rather than allowing some to be restricted to its paying customers.
“On the one hand, the labels are trumping YouTube as a
marketing tool and 10 million views is [hailed] as a marketing stroke of
genius,” he continued. “On the other hand, they’re looking at 10 million
streams on Spotify and going: ‘That’s X amount of lost sales.’ So I think there
is a lopsided effect. For an artist that needs discovering, anyone who has got
a real good album, but is very niche, I think streaming is great for them.
Taylor Swift probably looks at it and thinks, ‘There is an element of
cannibalisation. I am a brand. People know who I am and I want to protect the
record sales.’ And that’s fair enough.”
It’s surprising to see Dickins make such claims. Arguably,
Taylor, Adele, and Beyonce are the only mainstream artists who can guarantee
millions upon millions of records sold. Taylor’s latest record broke first week
sales records for the first time since 2002 as Jonathan Dickins also criticized
Taylor's hypocrisy for singling out Spotify.
Maybe Dickins is simply able to see the forest for the
trees. Just like the rise of mp3s before it, streaming services are the new
method for people (especially young people, the kind that make up the primary
bulk of Taylor’s fans) to access music which is why Dickins has first-hand
experience of this policy, with reports in 2012 that Spotify refused to allow
Adele’s last album 21 to be made available in this way. The album was added to
the service later that year.
Even so, he was positive about the prospects for streaming
overall, and Spotify in particular. “It’s all about scale. Spotify will work if
they get enough payers.”
Dickins, who also manages artists and producers including London Grammar, Jamie T, Rick Rubin and Paul Epworth, was speaking as part of a panel of managers alongside Jeff Jampol, who manages The Doors and The Ramones, along with the estates of other artists.
Dickins, who also manages artists and producers including London Grammar, Jamie T, Rick Rubin and Paul Epworth, was speaking as part of a panel of managers alongside Jeff Jampol, who manages The Doors and The Ramones, along with the estates of other artists.
Jampol talked about the changing nature of the music
industry, suggesting that record labels are no longer at the centre of an
artist’s business.
“Here’s the way an income pie should look for a successful
or current artist: 60-65% of their income is going to come from tickets, 15-25%
from tour merch, 10-15% from publishing, 2-4% from ancillary and 2-4% from
record sales,” said Jampol.
Dickins agreed that touring is becoming hugely important to
most artists. “Adele is the exception not the rule. The record 21 came out in
2011, we’ve sold 30 million copies of that album,” he said. “We haven’t toured
that much, for many different reasons. But I think touring has become a major
focus point for 99.9% of current artists’ careers.”
Jampol talked about the importance for managers of being
able to handle many different business areas, from books and merchandise to publishing
income and even museum partnerships – he’s worked on several for his artists.
“The record business is a key but small part of it. A book
publisher knows nothing about the record business, who knows nothing about the
apparel business, who knows nothing about museums, who knows nothing about
publishing,” he said.
“We’re in the middle. We’re the quarterback, and the artist
is the CEO... We have to get all these players to work together.”
Dickins talked about the importance of turning down
opportunities, rather than trying to do everything. “The one thing the internet
has done: content is everywhere.... and part of the hunger for content is we’ve
reached saturation point. and when you reach saturation point it cheapens it.
And one of the things I do is say no,” he said.
“That might be ‘no, I don’t want to do an Adele perfume,
we’re not doing a nail polish’. Or ‘that ticket price is too expensive’.
Whatever it is, the power of saying no, and being the gatekeeper to these
opportunities is key.”
He said that major labels nowadays “live under a culture of
fear... people live with these two-three year deals, whatever they’ve got,
they’ve got kids at school, and they have to produce hits. And if they have a
hit - which are few and far between – there’s the opportunity to kill: to rinse
every last bit of blood out of a record. And I think it’s dangerous.”
Jampol agreed: “Labels are all about getting their profit
and loss for the third or fourth quarter. We’re about the long-term vision. We
plan in decades!” he said.
“Having an artist legacy is kinda like walking up a down
escalator. If you’re standing still, you’re not standing still, you’re moving
backwards. You have to find that sweet spot that’s not doing nothing and not
doing too much. And over-saturation is a big problem.”
Meanwhile, Dickins said that managers are getting to grips
with the biggest change in the music industry, which is its transition from
sales to streaming.
“The business was always about buying stuff. When it was
cassettes and vinyl, then it became about CD, then the disasters like DCC
[digital compact cassette] and mini-disc,” he said.
“Streaming will be ubiquitous in five years. We are going
now into a streaming model. Whether you want to be in it or not, within five
years it will be everywhere. That something does not become about buying any
more. It becomes about consumption and it becomes about access... and that
hasn’t been done before.”
Sounds like a good strategy, heh, Jonathan Dickins and Jeff
Jampol? Come on, music industry, stop going by repeat hits/top 40/radio/promote
singles/publicity and evolve into streaming music/music videos/MTV/internet
like Vevo.
What do you think? Is Taylor in the right with her decision
to withhold her music from Spotify? Is streaming music the future? What do you
think about about Adele’s manager’s view on the streaming situation? Sound Off
below!
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