Fact #142199
When:
Short story:
The BPI releases the results of a survey of its member labels examining their views on the European Referendum, and the importance of European markets to their business. The results show that, among British record companies, 78% of those who expressed an opinion would prefer the UK to remain in the EU. One in four albums sold in Europe in 2015 was by a British artist.
Full article:
UK RECORD LABELS BACK “REMAIN” IN BPI SURVEY
1 in 4 albums sold in Europe in 2015 was by a British artist
Majority of UK member label respondents in BPI survey fear Brexit uncertainty will damage business prospects and undermine success of British music in Europe.
London/Cannes, 3rd June, 2016 – As music industry executives today gather in Cannes for Midem – the leading international b2b event dedicated to the new music ecosystem – the BPI can report that British music is enjoying sustained success around the world, not least across Europe, where last year British artists accounted for nearly one in every four albums sold1. In the key European export markets, the six largest EU markets after the UK – Germany, France, Sweden, Italy, Netherlands and Spain – British artists claimed 17.4 per cent of album sales in 2015 – equivalent to nearly one in every six albums sold.
The evident importance of European markets to UK record labels prompted the BPI – the record labels’ association that promotes British music – to carry out a survey2 of its members’ views on the EU Referendum issue, including the key question of whether the UK should remain in the European Union or withdraw its membership in the upcoming national referendum on 23rd June.
The survey, which took place between 25th April and 6th May, shows that a two thirds majority (68 per cent) of those that took part wish to see the UK remain in the European Union – a figure which rises to 78 per cent among those that expressed a clear opinion either for or against staying in the EU.
The survey also confirmed that almost all (95 per cent) BPI members produce recorded music and services that are commercially available in EU markets. One of the key concerns for members is retaining influence over how the music they create is protected, with 90 per cent believing that it is important to remain part of the process of agreeing EU copyright rules.
Geoff Taylor, Chief Executive BPI & BRIT Awards, said: “British music is riding high and now accounts for a quarter of the total market in Europe for recorded music. This success helps to create jobs in the UK and fund exceptionally high levels of investment by British labels into new music.
“A strong majority of the UK labels we polled believe that remaining in the EU is critical to their business and that leaving would risk harming their future prospects.
“Music and the wider creative industries are a major success story for the UK economy. Given the importance of exports to Europe to our business, we believe that the prospects for British music are brighter if the UK remains within the European Union.”
Key findings of the BPI EU member survey:
Overall position – ‘Remain’
68 per cent of members who responded to the BPI survey believe it is in the interests of British music for the UK to remain in the EU (this figure rises to 78 per cent among members who expressed an opinion). This contrasts with 20 per cent who believe the UK should exit the EU.
Copyright & content
When it comes to copyright and protecting music content, 90 per cent believe it is important for the UK to have influence in framing rules that govern the sale or use of British music in Europe.
Business case
47 per cent indicated that at least a quarter or more of the revenues they earn outside of the UK are derived from the EU – and for nearly a fifth (18 per cent) this figure rises to over 75 per cent.
Future prospects
70 per cent said the EU was either very (50 per cent) or quite important (20 per cent) to their future prospects.
Uncertainty & difficulties
70 per cent are concerned that the UK’s withdrawal from the EU, and any ensuing uncertainty, could create a great deal (38 per cent) or some (32 per cent) difficulties for their business.
Artist promotion
59 per cent believe that leaving the EU could make it more difficult to successfully promote British music and artists in Europe, with 33 per cent feeling that it would not.
Fans
56 per cent believe that withdrawal from the EU could have negative consequences for fans. 4 per cent felt it could be positive, with 30 per cent believing it would make no difference.
British Music in Europe
BPI analysis for its British Music in Europe 2015 report shows that, including the UK, where home talent claimed well over half (54.7 per cent) of sales, British artists accounted for more than a quarter (25.9 per cent) or one in four of all the albums purchased across Europe last year1. Even with UK sales stripped out, British music share across the continent came to 16.1 per cent. This performance is the strongest since the BPI began its overseas sales surveys in 2012, and is likely to be the highest share claimed by British artists in Europe, given that European markets have been heavily dominated by local repertoire in the past. The findings demonstrate the key importance of European markets to British music.
Looking specifically at Europe’s six-largest music markets after the UK – Germany, France, Sweden, Italy, Netherlands and Spain (which, combined with the UK, account for 81 per cent of all European consumption) – British artists and labels were responsible for 17.4 per cent – equivalent to nearly one in six – of all the albums purchased last year. This is broadly in line with the 17.6 per cent market share that British artists enjoyed in the US during the same 12-month period.
Adele led the strong performance by British artists in 2015, but there was also an impressive showing by a broad range of other UK acts, with Coldplay, Ed Sheeran, Mark Ronson, Muse, Sam Smith, One Direction, Mumford & Sons, George Ezra, The Prodigy, Calvin Harris, Steven Wilson, to name a few, as well as heritage acts such as Iron Maiden and Pink Floyd, each experiencing chart success across Europe to underline the strength in depth that the UK currently enjoys.
ENDS –
1. Calculating a European share
-----------------------------------------------------
The six countries featured in the report along with the UK account for 81 per cent of the value of the European market. Across the six territories analysed, British artists account for 17.4 per cent of sales. If it is assumed that this 17.4 per cent share is representative of other Western European countries, a conservative 5 per cent UK share to Eastern European markets is assigned and UK artists' share of their own market is factored in, their total European share comes to 25.9 per cent of sales, up from 23.4 per cent in 2014. This is an impressive achievement, though, obviously, helped significantly by the sales of British artists in their home market.
In the UK in 2015 British artists claimed their largest share (54.7 per cent) of album sales since 1997. The huge success of Adele contributed in no small measure, but an impressive seven of the top 10 albums of the year were British.
2 BPI membership EU Referendum survey
The BPI invited its 361 member organisations (at that time) to take part in the survey, including hundreds of independent labels and the UK’s three largest record company groups – Sony Music, Universal Music and Warner Music. Members were polled between 25th April and 6th May. 142 members (39 per cent of the membership) responded to participate in the survey.
About the BPI (British Phonographic Industry) Promoting British Music
The BPI was formed in 1973 as a representative voice of the UK recorded music business. As a trade association it promotes recorded music in the UK and worldwide, including through its overseas trade missions and the Music Export Growth Scheme, championing the rights and interests of a broad range of members through its content protection work. Its membership is made up of over 350 independent music labels and the UK’s three major record companies, which collectively account for over 80 per cent of the recorded music consumed in the UK – the world’s third largest music market – and whose artists claim one in every seven albums sold around the world.
The BPI administers the iconic Platinum, Gold and Silver Awards Programme and co-owns the Official Charts with the retailers’ association ERA. The BPI owns and organises the annual BRIT Awards, and is now also home to the Mercury Prize. Substantial proceeds from the BRIT Awards events go to the BRIT Trust, the BPI’s charitable arm that has donated over £16m to charitable causes, including The BRIT School, Nordoff Robbins Music Therapy and War Child, since its foundation in 1989.
-------------------------------------------------------------------------
BRITISH MUSIC HAS A BRIGHTER FUTURE IN EUROPE
By Geoff Taylor, Chief Executive BPI & BRIT Awards
London/Cannes, 3rd June 2016 –
Today many music executives from across the world gather in Cannes for Midem – Europe’s largest music business conference. They get together annually to discuss the future of the ever changing music business but this year, the question of whether Britain stays in the EU or leaves will be a hot topic – especially as British music is riding so high in Europe.
Whether it’s Adele’s power ballads, Ed Sheeran’s acoustic blend of Pop, Hip Hop and Folk, Sam Smith’s contemporary Soul, Mark Ronson’s metro Electro-Funk, Iron Maiden’s classic Rock or our exciting Grime scene, British artists have rarely been more popular outside of the UK. Our music is in people’s heads and hearts, on their streaming playlists and yes, still, spinning on their turntables. Europe really matters for British music. Last year, one in four albums sold across Europe was by a British artist and, for almost half of UK record labels, at least a quarter or more of the revenues they earn outside of the UK comes from trading in Europe. In fact for a fifth of labels, this figure rises to 75 per cent or more.
The BPI promotes British music and our member labels account for over 80 per cent of the recorded music that is purchased or streamed in the UK. When we polled them on the EU referendum, it came as no surprise that they had a clear view. Of those who expressed an opinion, 78 per cent want the UK to remain in the EU. They fear Brexit could damage the industry’s future, which would, in turn, be bad news for artists and fans.
Reducing access to European markets would be difficult for a creative business like ours – we don’t want any new barriers to our artists’ ability to freely travel and tour and promote their music. Nine in ten labels also believe it is essential that we do not lose British influence in framing the copyright rules that govern the use of music in Europe, which are currently under review.
This EU copyright review is vitally important as it’s our key opportunity to confront music's biggest digital challenges: getting video streaming platforms, such as YouTube, to pay artists fair rates for the music that helps to drive their business; and making search engines such as Google take meaningful action to tackle the online black market in music, rather than turning a blind eye. EU copyright rules are vital when we distribute British music across Europe and they determine how our artists can make a living. Our members want Britain to have a seat at the table when those rules are set because intellectual property and copyright underpins our ability to keep re-investing in new talent, which is essential if we are to sustain Britain’s proud record as the second largest exporter of music in the world.
The UK's achievements in music are no fluke. Alongside our super-talented musicians, we have record labels that invest 25 per cent of their annual revenues into new music, a bigger investment in R&D than biotech or big pharma, and as much again in marketing and promotion.
But we understand that we need not only to invest, but also to make sure that young people from every kind of background get the opportunity to develop their talent. That’s why every year the BRIT Awards raises funding for Croydon’s world-famous BRIT School, which helps provide a free arts education to thousands of young people, including many successful artists such as Amy Winehouse, Adele, Katy B, Rizzle Kicks and most recently Ella Eyre. Our music industry not only delivers jobs, economic growth and exports, it also helps build the profile of Britain as a cultural powerhouse across the globe.
UK record labels are a fine example of the opportunities that an EU digital single market offers. Almost all of them make their music commercially available across Europe. They have embraced the era of streaming and social media so that, if you include sales in the UK, a quarter of all the albums purchased in Europe last year were British. And when it comes to the EU referendum, they understand that business (and indeed politics), like music, is ultimately about collaboration. A bright future for the British music industry means continuing to perform as part of a group, not going solo.
Tweet this Fact
1 in 4 albums sold in Europe in 2015 was by a British artist
Majority of UK member label respondents in BPI survey fear Brexit uncertainty will damage business prospects and undermine success of British music in Europe.
London/Cannes, 3rd June, 2016 – As music industry executives today gather in Cannes for Midem – the leading international b2b event dedicated to the new music ecosystem – the BPI can report that British music is enjoying sustained success around the world, not least across Europe, where last year British artists accounted for nearly one in every four albums sold1. In the key European export markets, the six largest EU markets after the UK – Germany, France, Sweden, Italy, Netherlands and Spain – British artists claimed 17.4 per cent of album sales in 2015 – equivalent to nearly one in every six albums sold.
The evident importance of European markets to UK record labels prompted the BPI – the record labels’ association that promotes British music – to carry out a survey2 of its members’ views on the EU Referendum issue, including the key question of whether the UK should remain in the European Union or withdraw its membership in the upcoming national referendum on 23rd June.
The survey, which took place between 25th April and 6th May, shows that a two thirds majority (68 per cent) of those that took part wish to see the UK remain in the European Union – a figure which rises to 78 per cent among those that expressed a clear opinion either for or against staying in the EU.
The survey also confirmed that almost all (95 per cent) BPI members produce recorded music and services that are commercially available in EU markets. One of the key concerns for members is retaining influence over how the music they create is protected, with 90 per cent believing that it is important to remain part of the process of agreeing EU copyright rules.
Geoff Taylor, Chief Executive BPI & BRIT Awards, said: “British music is riding high and now accounts for a quarter of the total market in Europe for recorded music. This success helps to create jobs in the UK and fund exceptionally high levels of investment by British labels into new music.
“A strong majority of the UK labels we polled believe that remaining in the EU is critical to their business and that leaving would risk harming their future prospects.
“Music and the wider creative industries are a major success story for the UK economy. Given the importance of exports to Europe to our business, we believe that the prospects for British music are brighter if the UK remains within the European Union.”
Key findings of the BPI EU member survey:
Overall position – ‘Remain’
68 per cent of members who responded to the BPI survey believe it is in the interests of British music for the UK to remain in the EU (this figure rises to 78 per cent among members who expressed an opinion). This contrasts with 20 per cent who believe the UK should exit the EU.
Copyright & content
When it comes to copyright and protecting music content, 90 per cent believe it is important for the UK to have influence in framing rules that govern the sale or use of British music in Europe.
Business case
47 per cent indicated that at least a quarter or more of the revenues they earn outside of the UK are derived from the EU – and for nearly a fifth (18 per cent) this figure rises to over 75 per cent.
Future prospects
70 per cent said the EU was either very (50 per cent) or quite important (20 per cent) to their future prospects.
Uncertainty & difficulties
70 per cent are concerned that the UK’s withdrawal from the EU, and any ensuing uncertainty, could create a great deal (38 per cent) or some (32 per cent) difficulties for their business.
Artist promotion
59 per cent believe that leaving the EU could make it more difficult to successfully promote British music and artists in Europe, with 33 per cent feeling that it would not.
Fans
56 per cent believe that withdrawal from the EU could have negative consequences for fans. 4 per cent felt it could be positive, with 30 per cent believing it would make no difference.
British Music in Europe
BPI analysis for its British Music in Europe 2015 report shows that, including the UK, where home talent claimed well over half (54.7 per cent) of sales, British artists accounted for more than a quarter (25.9 per cent) or one in four of all the albums purchased across Europe last year1. Even with UK sales stripped out, British music share across the continent came to 16.1 per cent. This performance is the strongest since the BPI began its overseas sales surveys in 2012, and is likely to be the highest share claimed by British artists in Europe, given that European markets have been heavily dominated by local repertoire in the past. The findings demonstrate the key importance of European markets to British music.
Looking specifically at Europe’s six-largest music markets after the UK – Germany, France, Sweden, Italy, Netherlands and Spain (which, combined with the UK, account for 81 per cent of all European consumption) – British artists and labels were responsible for 17.4 per cent – equivalent to nearly one in six – of all the albums purchased last year. This is broadly in line with the 17.6 per cent market share that British artists enjoyed in the US during the same 12-month period.
Adele led the strong performance by British artists in 2015, but there was also an impressive showing by a broad range of other UK acts, with Coldplay, Ed Sheeran, Mark Ronson, Muse, Sam Smith, One Direction, Mumford & Sons, George Ezra, The Prodigy, Calvin Harris, Steven Wilson, to name a few, as well as heritage acts such as Iron Maiden and Pink Floyd, each experiencing chart success across Europe to underline the strength in depth that the UK currently enjoys.
ENDS –
1. Calculating a European share
-----------------------------------------------------
The six countries featured in the report along with the UK account for 81 per cent of the value of the European market. Across the six territories analysed, British artists account for 17.4 per cent of sales. If it is assumed that this 17.4 per cent share is representative of other Western European countries, a conservative 5 per cent UK share to Eastern European markets is assigned and UK artists' share of their own market is factored in, their total European share comes to 25.9 per cent of sales, up from 23.4 per cent in 2014. This is an impressive achievement, though, obviously, helped significantly by the sales of British artists in their home market.
In the UK in 2015 British artists claimed their largest share (54.7 per cent) of album sales since 1997. The huge success of Adele contributed in no small measure, but an impressive seven of the top 10 albums of the year were British.
2 BPI membership EU Referendum survey
The BPI invited its 361 member organisations (at that time) to take part in the survey, including hundreds of independent labels and the UK’s three largest record company groups – Sony Music, Universal Music and Warner Music. Members were polled between 25th April and 6th May. 142 members (39 per cent of the membership) responded to participate in the survey.
About the BPI (British Phonographic Industry) Promoting British Music
The BPI was formed in 1973 as a representative voice of the UK recorded music business. As a trade association it promotes recorded music in the UK and worldwide, including through its overseas trade missions and the Music Export Growth Scheme, championing the rights and interests of a broad range of members through its content protection work. Its membership is made up of over 350 independent music labels and the UK’s three major record companies, which collectively account for over 80 per cent of the recorded music consumed in the UK – the world’s third largest music market – and whose artists claim one in every seven albums sold around the world.
The BPI administers the iconic Platinum, Gold and Silver Awards Programme and co-owns the Official Charts with the retailers’ association ERA. The BPI owns and organises the annual BRIT Awards, and is now also home to the Mercury Prize. Substantial proceeds from the BRIT Awards events go to the BRIT Trust, the BPI’s charitable arm that has donated over £16m to charitable causes, including The BRIT School, Nordoff Robbins Music Therapy and War Child, since its foundation in 1989.
-------------------------------------------------------------------------
BRITISH MUSIC HAS A BRIGHTER FUTURE IN EUROPE
By Geoff Taylor, Chief Executive BPI & BRIT Awards
London/Cannes, 3rd June 2016 –
Today many music executives from across the world gather in Cannes for Midem – Europe’s largest music business conference. They get together annually to discuss the future of the ever changing music business but this year, the question of whether Britain stays in the EU or leaves will be a hot topic – especially as British music is riding so high in Europe.
Whether it’s Adele’s power ballads, Ed Sheeran’s acoustic blend of Pop, Hip Hop and Folk, Sam Smith’s contemporary Soul, Mark Ronson’s metro Electro-Funk, Iron Maiden’s classic Rock or our exciting Grime scene, British artists have rarely been more popular outside of the UK. Our music is in people’s heads and hearts, on their streaming playlists and yes, still, spinning on their turntables. Europe really matters for British music. Last year, one in four albums sold across Europe was by a British artist and, for almost half of UK record labels, at least a quarter or more of the revenues they earn outside of the UK comes from trading in Europe. In fact for a fifth of labels, this figure rises to 75 per cent or more.
The BPI promotes British music and our member labels account for over 80 per cent of the recorded music that is purchased or streamed in the UK. When we polled them on the EU referendum, it came as no surprise that they had a clear view. Of those who expressed an opinion, 78 per cent want the UK to remain in the EU. They fear Brexit could damage the industry’s future, which would, in turn, be bad news for artists and fans.
Reducing access to European markets would be difficult for a creative business like ours – we don’t want any new barriers to our artists’ ability to freely travel and tour and promote their music. Nine in ten labels also believe it is essential that we do not lose British influence in framing the copyright rules that govern the use of music in Europe, which are currently under review.
This EU copyright review is vitally important as it’s our key opportunity to confront music's biggest digital challenges: getting video streaming platforms, such as YouTube, to pay artists fair rates for the music that helps to drive their business; and making search engines such as Google take meaningful action to tackle the online black market in music, rather than turning a blind eye. EU copyright rules are vital when we distribute British music across Europe and they determine how our artists can make a living. Our members want Britain to have a seat at the table when those rules are set because intellectual property and copyright underpins our ability to keep re-investing in new talent, which is essential if we are to sustain Britain’s proud record as the second largest exporter of music in the world.
The UK's achievements in music are no fluke. Alongside our super-talented musicians, we have record labels that invest 25 per cent of their annual revenues into new music, a bigger investment in R&D than biotech or big pharma, and as much again in marketing and promotion.
But we understand that we need not only to invest, but also to make sure that young people from every kind of background get the opportunity to develop their talent. That’s why every year the BRIT Awards raises funding for Croydon’s world-famous BRIT School, which helps provide a free arts education to thousands of young people, including many successful artists such as Amy Winehouse, Adele, Katy B, Rizzle Kicks and most recently Ella Eyre. Our music industry not only delivers jobs, economic growth and exports, it also helps build the profile of Britain as a cultural powerhouse across the globe.
UK record labels are a fine example of the opportunities that an EU digital single market offers. Almost all of them make their music commercially available across Europe. They have embraced the era of streaming and social media so that, if you include sales in the UK, a quarter of all the albums purchased in Europe last year were British. And when it comes to the EU referendum, they understand that business (and indeed politics), like music, is ultimately about collaboration. A bright future for the British music industry means continuing to perform as part of a group, not going solo.