MIDiA Global Music Forecast: Recorded Revenue RecalibratesThe global music industry is entering a new era of change and uncertainty. Explore an overview of the MIDiA Global Music Forecast, an in-depth 83-page report, built on detailed data and expert analysis that forecasts where the music business is headed next.
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Beats+Bytes 2025 Halftime Report: Music & Culture In ChaosThe Nue Agency's mid-year culture report is out now. The Beats+Bytes 2025 Halftime Report looks at how everything from politics to culture is changing how smart marketers market including key recorded and live music takeaways.
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Live Music News: UK Ticket Probe • Bonnaroo • Ticketplus • More
Get the latest Live Music News under the Live Industry News tab above.

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I was a co-founder of IMPALA. It saddens me to see how rabidly anti-major it’s become.Kenny Gates responds to claims made by IMPALA about Universal and Downtown
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Braiden Sunshine Joins TELEFUNKEN’s “Live From The Lab” SeriesTELEFUNKEN Elektroakustik, known for its high-end microphones and dedication to audio excellence, has added another compelling performance to its Live From The Lab series—this time featuring singer-songwriter Braiden Sunshine.Based in South Windsor, Connecticut, TELEFUNKEN's Live From The Lab series is a performance-focused project that highlights a wide range of talent—local, national, and international—recorded entirely with TELEFUNKEN microphones. Each session is filmed and tracked live at the company's in-house studio, with multitrack audio files made available for download by engineers, producers, and music fans alike.A statement from the company discloses that Sunshine “is the latest artist to showcase his musical talent on TELEFUNKEN’s ‘Live From the Lab.’ His performance of ‘Under Your Spell’ was tracked with a full complement of the company’s microphones.”Sunshine first caught national attention on NBC’s The Voice, but his musical journey began years before, singing in his church choir and performing with his early band, Madison Red. He’s since opened for artists like Huey Lewis and LeAnn Rimes and continues to release new material—including his Top 50 iTunes single, “Reality.”A statement from the company adds that Sunshine “uses the M80 Copper live, as well as the ELA M 251E in the studio,” two microphones known for their clarity, warmth, and detail. His Live From The Lab session includes a performance of “Sail Away,” available to watch online, along with downloadable multitrack session files for mixing enthusiasts.According to TELEFUNKEN, “All audio files are presented in .WAV format and were recorded at 24bit / 48KHz sample rate. They are clearly labeled in the same format with the source listed first (LEAD VOX, ACOUSTIC, PIANO), followed by the microphone used (C12, AR-51, etc.) and can be downloaded and imported into your Digital Audio Workstation of choice.”

The post Braiden Sunshine Joins TELEFUNKEN’s “Live From The Lab” Series first appeared on Music Connection Magazine.

In The Live Music Trenches with John Harris of XL LIVEJohn Harris of XL Live has been in the live music trenches for more than 40 years as a talent buyer, promoter and marketer. He shares his story as well as what's actually helping him sell more tickets in 2025.
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How Effective are Image-Only Ads for Music?Think image-only ads for music can can promote your releases. live shows and more without fans ever hearing a note? This surprising experiment by Brian Hazard reveals why visuals alone may boost clicks, but...
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Warner Music Group to reduce annual cost by another $300M, with $170M saved via ‘headcount rightsizing’Combined with previously announced restructuring, Warner should achieve more than half a billion dollars in annual cost-savings
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Brian Wilson Tribute Set for July 3 at The Canyon Club: A Personal and Powerful CelebrationOn July 3, The Canyon Club will host a heartfelt tribute to one of its most beloved musical icons: Brian Wilson, the visionary behind The Beach Boys’ unmistakable sound. The event promises to be a moving and memorable evening—one that blends timeless music with personal reflection.The Canyon Club has long served as a hub for live music in Southern California, welcoming legendary performers and rising stars alike. Known for its intimate atmosphere and professional production, it’s an ideal setting for a tribute of this scale and sentiment.

According to a statement from the event team, “This will be a truly incredible and uniquely L.A. event."“During rehearsals, Carnie Wilson and her family have been very candid in sharing their journey in their recent loss of her dad, Brian Wilson,” the statement continues. While the show was originally conceived as a musical celebration, it has naturally grown into something more poignant—a moment of both remembrance and recognition.

The production includes a full orchestra and will bring together family, friends, and fans in honor of a man whose songs not only helped define the California sound but also touched countless lives across generations.For those planning to attend, it won’t just be a concert—it’ll be a tribute from the people who knew Brian best, through the music that made him a legend.The post Brian Wilson Tribute Set for July 3 at The Canyon Club: A Personal and Powerful Celebration first appeared on Music Connection Magazine.

Deerhoof leaves Spotify, but not over royalties: Full StatementTrailblazing indie band Deerhoof leaves Spotify, pulling all of their music off the streamer. Their music will still be available on Apple Music, Amazon Music and other streaming platforms.
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MIDiA Research 2025-2032 global music forecasts | RecalibrationWe are pleased to announce the release of MIDiA’s annual music forecasts report. This is always a labour of love and takes a bit longer than some other entities’ forecasts as our approach is more Etsy than Amazon, with every single line of data (and there are thousands of them) being hand crafted, individually stress tested and cross checked. 

It might not be a very scalable approach, but as so many stakeholders in the music business rely on our numbers for business and investment strategy, it is a responsibility we take very seriously. As tempting as it would be just to say ‘CAGR is…’ and populate across the 39 different markets, we know from experience that short cut approaches almost always result in short comings. Perhaps most important of all is the thinking and industry expertise that goes into the numbers. There are no facts about the future, so forecasts are always a mathematical representation of human thought (and, no, I am not opening the AI can of worms). MIDiA clients can get the full 83-page report and 50+ sheet Excel here. Here are some highlights.

First off, the big number: by 2032, global recorded music revenues will be $110.8 billion. This figure is retail terms (i.e., includes DSP / retailer and publishing revenues) and includes:

Traditional revenues (streaming, downloads, physical, performance, sync)

Non-DSP streaming (TikTok, etc.)

Expanded Rights (labels’ share of live, merch, branding, etc.)

Label licensing revenue for audio visual content (documentaries, biopics, etc.)

Production music

Full representation of the long tail of independent artists and labels

That is the maximalist view. The more minimalist view (label revenues excluding Expanded Rights) sees 2032 revenues reach $51.2 billion.

After something of a boom year in 2023, revenue growth slowed to 4.3% in 2024. In fact, 2024 continued an oscillating growth pattern we have seen all decade, with strong growth years followed by weaker ones. The years with weaker growth coincided with declines in physical and (most often) weaker streaming growth. While this gives physical a kingmaker status, it also reflects maturing streaming growth: when the main revenue source grows at more modest rates, shifts in smaller revenue sources is the difference between strong and weaker growth.

We titled this year’s report ‘Recalibration’ as everything points in this direction:

New growth dynamics: Oscillation and slowing streaming are the new growth framework for the global market

Clear shift away from the West: Close to four firths of subscriber growth came from non-Western markets and China became the world’s fourth largest recorded music market. We titled last year’s report ‘Rise of the Global South’. This is the market’s new reality. Which helps explain why so many Western rightsholders are snapping up Global South repertoire and rightsholders. Will catalogue investors follow suit?

New DSP power dynamics: DSPs are growing influence and power, as reflected the ‘bundles’ licensing discounts. Labels got their ‘artist centric’ licensing in return but the long-term implication is DSPs have the precedent of reducing the royalty pot

New outlook for ad supported streaming: Revenue was flat in 2024. Part of this was actually a good news story (more music videos being monetised in the higher value confines of YouTube Premium). Part of it was another reflection of DSP power, with advertisers increasingly opting for the better targeting of podcast inventory versus music

Rapid rise of AI: While rightsholders were locked in legal battles, the marketplace has become awash with generative AI companies and this music is flooding DSPs. While some of these companies are seeking to operate ethically and in partnership with rightsholders, many are pursuing the ’do first, ask forgiveness later’ approach that served earlier disruptors like YouTube and TikTok so well

As you can imagine, with an 83-page report, this is but a tiny taster of the report, but hopefully it has given you a sense of the macro dynamics at play in today’s and tomorrow’s music business. If you want to go a little deeper still, keep an eye out for an exclusive video of the report’s analysts talking through some more of our thinking and numbers. In the meantime, if you are a client, you can find the report here.

Music Tectonics Startup Competition Opens 2025 ApplicationsThe popular Swimming with Narwhals Music Tectonics Startup Competition has opened applications for 2025.
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Classical Highlights for June 2025As usual, we heard a wide-ranging variety of classical music this past month. What stands out in the best releases is the thoughtfulness, whether in the programming of the selected works or the interpretation of them. Anna Lapwood's (pictured) Firedove was meant to keep listeners guessing and engaged. Explore this recording and more in our June classical highlights.

Live Review of Cockney Rejects Contact: sue@opaquemanagement.co.uk Web: cockneyrejects.com Players: Jeff “Stinky” Turner, vocals; Michael “Olga” Algar, guitar; JJ Kaos, bass; Ray Dust, drums There was a feeling of togetherness at the Regent Theater on a Friday evening in May, a genuine vibe of punk family. Let's face it—no casual punk fans are venturing out to see English Oi! pioneers the Cockney Rejects in 2025. No, the people at the Regent for this show were lifers. It was a mixed bag of young and old, male and female, various cultures. A Cockney Rejects crowd is anything but one-dimensional. But the one thing they have in common is a commitment to punk. There was a long list of openers and we got to the Regent in time to see the last two—Castillo and The Voids. Both were appropriately riotous, noisy, and had a few gems on the setlist. If the job was to warm up the crowd for the Rejects while earning a few new fans, then it was a case of job well done. But nobody was upstaging the Rejects. It had somehow passed us by that Toy Dolls man Olga is now playing guitar for the CRs— vocalist Stinky Turner is the one remaining OG, and he assembled a new Rejects lineup in 2024. But Stinky, Olga, bassist JJ Kaos (Last Resort, Anti-Nowhere League) and drummer Ray Dust (The Business, Argy Bargy) are a formidable presence. The setlist was perfect. Opening with "Flares 'n' Slippers," they blasted through "We Are the Firm," "Are You Ready to Ruck," and "Bad Man" with no small amount of joy. Stinky did his shadow boxing thing, the veteran football/soccer warrior that he is. And when he introduced bonafide classic "The Greatest Cockney Rip Off" as a singalong, the crowd didn't let him down. That crowd, incidentally, didn't give the band a moment's peace. There was barely a second where at least one future stagediver wasn't up there with them, throwing sweaty limbs around and yelling into the mics. Hey, that's punk! They ended with their version of West Ham F.C.'s anthem "I'm Forever Blowing Bubbles," and then their trademark "Oi! Oi! Oi!" Everyone then spilled out onto the Downtown Los Angeles street, drained and sweat-soaked, but very, very happy. The post Live Review of Cockney Rejects first appeared on Music Connection Magazine.

As AI deepfakes spread, Denmark plans to give individual citizens copyright ownership of their own face and voiceThe proposed law is believed to be the first of its kind in Europe, but US legislators are working on similar initiatives
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