[brianc33616]

Originally posted by alexanderao

Still, being inside the T40 of Spotify is quite impressive for the song considering that it is country. You'd think that pop stations that are interested in playing country as well would be watching the Spotify chart daily.

DAHM was on the Spotify chart Friday and Saturday, and just missed Sunday and Monday. If it can get a good Wednesday and Thursday, it should reach ODS next week. One Hot AC station gave DAHM an unsolicited add this week, which is what happened with Play It Again. Even when the label doesn't try and crossover a Country song, if it's in the Top Ten on downloads and Top 50 on ODS, some adventurous Hot AC stations will play the song without any promotion from the label.

[iHype.]

Perfect article on Streaming payments. A real non-bias perspective, at the perfect time.

I was at a mixer recently in Nashville with over 200 songwriters and artists in the room, all of them making significant money through micro-licensing to indie films and small to mid-size brands. Money they had no way of making five years ago.

These songwriters and artists represent a class and generation that has thrown away the old rules of the music business and begun writing the new ones.

One of those new rules is to embrace streaming on all platforms, from Spotify to Youtube, and more. They’ve re-thought their businesses (yes, they are businesses) and the deals they choose to sign through the prism of a “Post-Napster” perspective. And they are making a living that simply was not possible five years ago. These are the true success stories.

I think these success stories need to get more attention than they do.

Perrin’s profile in The New York Times was a good start, but we need to see more. These artists don’t have 10 million Twitter followers. They don’t get asked to speak on Capitol Hill. And they don’t appreciate it when major artists and songwriters, who have completely different business structures from independent artists, say, “I’m speaking for the up and coming, unsigned artist or songwriter.”

You see, in my world, Spotify is not the problem. I repeat… Spotify is not the problem.

The reality is: Spotify consistently pays out around 70% of their total earnings to copyright owners. They state it pretty clearly on their website in a section aptly titled, “How We Pay Royalties…”

“Spotify pays royalties for all of the listening that occurs on our service by distributing nearly 70% of all the revenues that we receive back to rights holders. By ‘rights holders,’ we are referring to the owners of the music that is on Spotify: labels, publishers, distributors, and, through certain digital distributors, independent artists themselves.”

The key here is, are you the rights holder, or is a record label and/or publisher? Because that’s who’s receiving the 70%. If a writer or artist isn’t seeing the money, the answer to their question can probably be found within their label or publisher contract.

The Boogey Man and the Cookie Monster aren’t stealing it.

Every record or publishing deal is different, but most still use a “Pre-Napster” design and language that includes an advance, marketing budgets, and charged expenses that an artist or writer has to pay back.

And once those are paid pack, the split on streaming royalties is heavily weighted towards the record label or publisher (Although, some companies are evolving and re-thinking the way they do business in this new, digital world, such as Kobalt, Downtown Music, Thirty Tigers, etc).

.....


But recently, the House Judiciary Committee came to Nashville for a roundtable discussion on copyright reform. The roundtable was largely populated by people that shared Aloe and Thom’s perspective. Not surprisingly, the world that I live and work in everyday was not represented. The artists and songwriters that are flourishing in this new age were nowhere to be found.

That’s when it became real for me. Laws could be made that would jeopardize this amazingly fruitful and growing ecosystem for the many, because of the stories and experiences of a few. That’s scary.

It seems to me, that in order to truly address a problem we must fully understand it. And to fully understand it, we can’t just hear the horror stories. We should hear the success stories too.

So, that’s why I wrote this piece: to show a different perspective on streaming. To be clear, just because Spotify exists doesn’t mean that you’re going to get millions of streams and make tons of money. The quality of your art still matters. Now more than ever.

....


For transparency’s sake, our friends over at CD Baby sent over Perrin’s most recent sales report. You can view it here (right). When it comes to streaming fees, at last report, he’s been paid on 10,929,203 of those 13 million Spotify streams of “Everyone’s Got Something” to the tune of $44,100.60.

After a distribution fee of 9%, $40,131.55 goes straight to the rights holder: Perrin.

(Note: this report only shows streaming fees or “sales.” Mechanicals and digital performance royalties make up the remainder of the total $56,329.35, but historically lag behind in reporting and collection. As they have with Perrin.)

And keep in mind, the Spotify streams of one song don’t live in a vacuum. They are a driver for Perrin’s business and art as a whole. They drove up the streams on other songs he has on Spotify (you’ll see another song on this report called “Little Bit” that’s made about $37,000 in sales from about 11 million Spotify streams). Perrin’s download sales have gone up. Fan-made YouTube videos have been posted and he’s collecting on those royalties through our friends at Rumblefish.

READ FULL

[Prismy]

24. Like I'm Gonna Lose You (+14) (320,024) *New peak*

[iamvladd]

Adele:
US - 2,193,949
Global - 6,007, 108

[umich]

Originally posted by iamvladd

Adele:
US - 2,193,949
Global - 6,007, 108

[omrimayo]

Originally posted by iamvladd

Adele:
US - 2,193,949
Global - 6,007, 108

Not bad

[Jeiboy]

Meghan

Adeles global

[alexanderao]

Updating now.

[alexanderao]

11/04/2015 (Archive)

1. Hello (2,193,949) *11 days at #1*
2. Sorry (1,326,435)
3. Hotline Bling (1,133,063)
4. What Do You Mean? (+1) (751,855)
5. Jumpman (-1) (734,034)
6. Stitches (647,131)
7. The Hills (608,445)
8. Focus (549,523) *Currently at peak*
9. Can't Feel My Face (537,119)
10. 679 (+1) (526,454)

11. Here (-1) (518,001) *Reached a new peak yesterday*
12. On My Mind (+1) (491,162)
13. Same Old Love (-1) (490,360)
14. Again (428,979)
15. White Iverson (418,259)
16. Trap Queen (396,136)
17. Locked Away (389,958)
18. I'll Show You (+15) (379,416) *New peak* *Debuted yesterday*
19. Downtown (376,237)
20. Lean On (-2) (372,391)

21. Good For You (-1) (368,226)
22. Ex's And Oh's (+3) (356,727) *New peak (2 in a row)* *+14 in last 2 days*
23. Perfect (-2) (354,097)
24. Back To Back (-2) (350,143)
25. Like I'm Gonna Lose You (-1) (348,942) *Reached a new peak yesterday*
26. Love Myself (+1) (345,879)
27. Antidote (-4) (340,703)
28. Confident (330,751)
29. Roses (+2) (327,147) *New peak (2 in a row)* *+13 in last 2 days*
30. Big Rings (-1) (326,675)

31. How Deep Is Your Love (-5) (326,322) *-10 in last 2 days*
32. No Role Modelz (-2) (319,751)
33. Renegades (-1) (314,858)
34. Right Hand (275,380)
35. Drag Me Down (273,788)
36. My Way (268,487)
37. Die A Happy Man (+2) (260,906) *New peak*
38. Where Ya At (-1) (256,917)
39. Where Are U Now (-1) (255,773)
40. Come Get Her (251,071)

41. Sugar [Robin Schulz] (250,959)
42. Photograph (+6) (247,483)
43. Diamonds Dancing (-1) (241,343)
44. Marvin Gaye (+2) (239,791)
45. Often (-2) (239,666)
46. Don't (+4) (236,367) *New peak* *Debuted yesterday*
47. Cheerleader (-2) (235,821)
48. Planes (-4) (234,368)
49. Rudimental f/Ed Sheeran - Lay It All On Me (DEBUT) (232,280)
50. Earned It (-3) (230,881)

Dropouts
49. Flex (Ooh, Ooh, Ooh)

Total plays of the Top 10:
9,008,008 (+387,332 from yesterday)

Total plays of the Top 50:
21,910,409 (+1,267,077 from yesterday)

[brianc33616]

Adele near 2.2 million, DAHM up to #37

[alexanderao]

Jumpman 70.13%
Again 60.95%
679 58.39%
Here 53.00%
Like I'm Gonna Lose You 51.07%
Trap Queen 44.27%
Renegades 43.65%
The Hills 41.07%
Hotline Bling 40.24%
Confident 40.20%
Love Myself 36.95%
Hello 36.52%
Downtown 33.48%
Stitches 31.86%
Good For You 31.55%
Focus 31.37%
Sorry 30.24%
I'll Show You 29.10%
What Do You Mean? 28.44%
Drag Me Down 27.64%
Where Are U Now 27.64%
Perfect 27.36%
Lay It All On Me 23.23%
Photograph 22.54%
Locked Away 22.30%
Marvin Gaye 22.25%
Cheerleader 21.64%
Sugar [Robin Schulz] 17.66%

[Ger-55]

I love how Meghan, Elle and Alessia are all gaining really good on Streaming

Thomas

FINALLY Lay It All On Me YASSSS

[alexanderao]

Hasn't left the top 20 for the last two months

[Ger-55]

Alessia up to #8 today

LIGLY Top 20

34. Die A Happy Mean (+3)
40. Lay It All On Me (+9)
51. Break Up In A Small Town
70. My House
94. Colors - Halsey
95. Feelings
100. Lush Life

[alexanderao]

Perched for AIWFCIY's debut.

[simmnfierzig]

Originally posted by Ger-55

Alessia up to #8 today

LIGLY Top 20

They both really want that #10 spot on the Hot 100 next week

[Middle of Selena]

selena and ariana?

[Ger-55]

Originally posted by Middle of Selena

selena and ariana?

10. Focus (-2) (528,080)
12. Same Old Love (+1) (510,232)
21. Good For You (379,312)

[abrahamjmr]

Originally posted by iHype.

Perfect article on Streaming payments. A real non-bias perspective, at the perfect time.

READ FULL

Why didn't anyone commented on this?

[alexanderao]

Updating now.