IFPI, the organisation that represents the recorded music industry worldwide, has announced 21st century pop icons BTS as the winners of 2021’s IFPI Global Recording Artist of the Year Award. The news marks a landmark moment for the recording industry as the South Korean group become the first act to win the award for two consecutive years.
The unique award is calculated according to an artist’s or group’s worldwide performance across digital and physical music formats during the year, from streams to vinyl, and covers their entire body of work. The award was announced at the culmination of the IFPI Global Artist Chart countdown, which revealed the top 10 best-selling artists of the year globally.
By topping the IFPI Global Artist Chart for the second year in a row, BTS (consisting of members RM, Jin, SUGA, j-hope, Jimin, V and Jung Kook) continue to make global chart history. Having become familiar faces in the IFPI Global Artist Chart since 2018 when they entered at #2, the 2020 chart saw them become the first Korean act to win the accolade, as well as the first winner to perform primarily in a language other than English. In the latest chart, BTS were joined by fellow K-pop superstars SEVENTEEN who made their first chart appearance at #9, demonstrating the growing popularity of K-Pop with music fans across the globe.
2021 saw BTS continue their world dominance. Butter, which was released in May 2021, was an instant success and charted at #1 in the US Billboard Hot 100 Chart for seven consecutive weeks. In July, the group’s new single Permission to Dance also debuted at #1 on Hot 100, replacing themselves at the top spot. In September, Coldplay and BTS released a new single My Universe which also charted at #1 in the US. In Asia, BTS released their Japanese language greatest hits album BTS, THE BEST which topped the Oricon Year End Album Chart – the first time a non-domestic act has done so in 37 years. The CD release of Butter topped the Gaon year-end charts in South Korea, incredibly the sixth year in succession that BTS have managed this feat, with six separate releases.
Frances Moore, Chief Executive, IFPI, said: “BTS’ phenomenal success over the last year is a testament to their creativity, hard work and ongoing commitment to continuing to find ways to bring their music to the world. By performing in three different languages, they demonstrate their extraordinarily unique global appeal and their dynamic and passionate fanbase has helped to make them the first artists in history to top the Global Artist Chart in two consecutive years.
We would like to wish RM, Jin, SUGA, j-hope, Jimin, V and Jung Kook and all who work on their team huge congratulations on winning the Global Recording Artist of the Year Award and on another year of brilliant success.”
BTS were joined in the top three of the IFPI Global Artist Chart by two-time winner Taylor Swift – who finished at #2 for the second consecutive year after previously topping the 2019 chart. Swift was the highest charting solo artist followed by Adele, who secured third place, re-entering the chart for the first time since winning it in 2015. Former Global Artist Chart winners Drake and Ed Sheeran followed at #4 and #5 respectively. Breakthrough-newcomer Olivia Rodrigo made her first impression on the chart for 2021, entering at #10, following a year of incredible success with her debut album SOUR.
IFPI Top 10 Global Recording Artists of 2021
2020 – BTS
2019 – Taylor Swift
2018 – Drake
2017 – Ed Sheeran
2016 – Drake
2015 – Adele
2014 – Taylor Swift
2013 – One Direction
The IFPI Global Recording Artist of the Year Award and top 10 chart is the only ranking to accurately measure consumption across all formats (including streaming formats, digital and physical album, and singles sales) and all countries. It is weighted based on the relative value of each method of consumption.
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The new Copyright Act (“the Act”), which was passed in Parliament in September 2021, will come into force on 21 November 2021. The Act enhances our copyright regime through its updated provisions, which factor in technological developments that have impacted how content is created, distributed, accessed and used.
You can access the Factsheet For Businesses On The Copyright Act 2021 from IPOS Website.IPOS_Factsheet for Businesses on the Copyright Act 2021
Fans enjoy music in more ways, as labels’ innovation drives excitement and diversity of music
Use of unlicensed music remains an issue harming creators, continues to evolve
Download the full report here
Infographic available for download here
21st October 2021 – IFPI, representing the recording industry worldwide, has today released Engaging with Music 2021, measuring how 43,000 people across 21 countries – the largest study of its kind – engage with music.
Report highlights include:
- Fans make their own listening choices thanks to streaming – The main reasons fans gave for their engagement with streaming were being able to choose their favourite songs, artists, and their own playlists. 68% searched for specific songs and 62% listened to playlists they created more than once a week.
- Around the world, music fans are enjoying a rich and diverse mix of genres. In addition to well-known popular genres, well over 300 different genres were named by at least one person in the 43,000-person study as music they typically listen to, including gqom, axé, and hokkien song. This reflects the rich, diverse, and highly competitive music landscape fans now enjoy around the world.
- Engagement is fuelled by music fans’ increasingly rich experiences, with music driving innovations such as short form video, livestreaming, and in-game experiences. 68% of the time spent on short form video apps involved music-dependent videos such as lip syncing and dance challenges. Furthermore, one in three (29%) said they had watched a music livestream such as a concert in the last 12 months.
- Time spent listening to music is up globally. Fans are enjoying more music today than ever before, on average spending 18.4 hours a week listening to music (up from 18 hours in 2019) – the equivalent of listening to 368 three-minute tracks.
- Driven, in part, by record labels’ investment, engagement with streaming – particularly subscription audio streaming – continues to grow, demonstrating increasing value to fans. Time spent listening to music through subscription audio streaming grew 51%, as music fans continue to embrace streaming for the access and autonomy it provides to choose the artists and the music that they love.
- Music makes a powerful contribution to wellbeing, providing comfort and healing to many – especially younger people – in challenging times. 87% said that music provided enjoyment and happiness during the pandemic. 68% of 16-19 said new releases from their favourite artists helped them during the pandemic.
- Music is central to what people enjoy about listening to the radio. 74% listen to the radio mainly for the music and 73% tune in to their favourite radio station because of the music it plays.
- The availability of unlicensed music remains an issue for the music ecosystem and the threat continues to evolve. Almost one in three (29%) of people had used illegal or unlicensed methods to listen to or download music, and 14.4% had used unlicensed social media platforms for music purposes.
Frances Moore, IFPI Chief Executive, said: “Engaging with Music 2021 tells the story of how fans around the globe are connecting with the artists and music they love in ways never before imagined, with the rapid emergence of short form video, livestreaming, and in-game experiences, all enhanced by people’s love of music.
“Record companies have enabled artists to develop their vision, licensed an abundance of music tracks to a multitude of platforms, and harnessed new technologies to pave the way for music fans around the world to connect with artists in these growing, and exciting ways.
“The freedom of record labels to license music to these new and immersive experiences is crucial to the future growth of the entire music ecosystem. We are campaigning worldwide to ensure governments maintain or implement a fair environment in which such commercial deals can be made.”
Download Engaging with Music 2021 here
Download the accompanying infographic here
IFPI’s Engaging with Music was previously released in 2019 under the title Music Listening.
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Notes to editors:
The report also contains dedicated country reports that offer a deeper look at the way people are engaging with music in China, India, and Russia.
IFPI is the voice of the recording industry worldwide, representing over 8,000 record company members across the globe. We work to promote the value of recorded music, campaign for the rights of record producers and expand the commercial uses of recorded music around the world.
Data is based on fieldwork conducted in June and July 2021 across 21 countries and gathered the views of 43,000 respondents aged between 16-64. Panels were nationally representative in each country.
1. The Ministry of Law (MinLaw) has tabled the Copyright Bill for First Reading in Parliament today.
2. The Copyright Bill (“the Bill”) seeks to repeal and replace the current Copyright Act. It will strengthen the copyright regime in Singapore, by updating the Copyright Act to stay abreast of changes in how content is created, distributed, and used. It will also make the law more accessible by simplifying the language.
Key Features of the Bill
3. The key features of the Bill are:
a. It will introduce new rights and remedies for creators, to ensure copyright continues to reward the creation of works and incentivise creativity. For example:
- A new right to be identified will require users to ensure that when materials are used in public, including when they are distributed on online, the creator or performer is acknowledged. This will help individual creators and performers build their reputation.
- Creators of photographs, portraits, engravings, sound recordings and films, whether commissioned or otherwise, will by default be the first owner of copyright unless otherwise prescribed by contract. This changes the current position, where the commissioning party owns the copyright by default. Creators will be better positioned to negotiate with the commissioning parties, and can further showcase and commercialise their works for other purposes.
b. It will create new exceptions to copyright owners’ rights, known as “permitted uses” to ensure copyright works are reasonably available for the benefit of society and to support innovation. For example:
- Copyright works, if lawfully accessed (e.g. without circumventing paywalls), can be used for computational data analysis, such as sentiment analysis, text and data mining, or training machine learning, without having to seek the permission of each copyright owner. This will support research and innovation efforts.
- Teachers and students may use freely available internet materials in their educational activities, including for home-based learning, as long as they acknowledge the source. However, if they are made aware that the source is infringing, they must stop using it. This new exception is timely, since the use of online materials for educational purposes has increased substantially.
A summary of the key changes can be found in the Annex.
4. The Bill will restructure and reword the legislation in plain English, to enhance its clarity and accessibility. The Bill adopts a more intuitive, thematic structure and provides illustrations to show how provisions should be applied in particular situations. This will allow creators, users, and intermediaries to better understand how the law works to both protect and provide access to works.
5. MinLaw and the Intellectual Property Office of Singapore (IPOS) would like to thank all respondents who provided feedback during the several rounds of public consultations culminating in a draft version of the Bill being issued for final consultation in February this year. Responses from the February consultation were taken into consideration in finalising the Bill. MinLaw’s full response to the February consultation can be accessed at www.go.gov.sg/copyright-consult-response.
6. If passed, we expect to be able to operationalise most of the provisions in the Bill in November 2021.
6 JULY 2021
Global recorded music revenues grow 7.4%
The global recorded music market grew by 7.4% in 2020, the sixth consecutive year of growth, according to IFPI, the organisation that represents the recorded music industry worldwide. Figures released today in IFPI’s Global Music Report show total revenues for 2020 were US$21.6 billion.
Growth was driven by streaming, especially by paid subscription streaming revenues, which increased by 18.5%. There were 443 million users of paid subscription accounts at the end of 2020. Total streaming (including both paid subscription and advertising-supported) grew 19.9% and reached $13.4 billion, or 62.1% of total global recorded music revenues. The growth in streaming revenues more than offset the decline in other formats’ revenues, including physical revenues which declined 4.7%; and revenues from performance rights which declined 10.1% – largely as a result of the COVID-19 pandemic.
The work and investment of record companies has helped lay the foundations for a predominantly digital industry that proved its resilience against the extraordinary circumstances of 2020. In a challenging year, record companies have worked alongside their artist partners to support them in creating and recording music and the whole sector has continued to drive innovations in the ways fans can experience music around the world.
IFPI Chief Executive Frances Moore, said: “As the world contends with the COVID-19 pandemic, we are reminded of the enduring power of music to console, heal and lift our spirits.
“Some things are timeless, like the power of a great song or the connection between artists and fans. But some things have changed. With so much of the world in lockdown and live music shut down, in nearly every corner of the globe most fans enjoyed music via streaming.
“Fuelled by record companies’ ongoing investment in artists and their careers, along with innovative efforts to help artists bring music to fans in new ways, recorded music revenues grew globally for the sixth consecutive year, driven by subscription streaming. As record companies continue to expand their geographical footprint and cultural reach, music has become more globally connected today, than ever before and this growth has spread across all regions around the globe.
“With many impacted by the pandemic, and concerned with growing social injustices, record companies have worked hard to make a meaningful, lasting contribution to the world we want to live in.”
Growth in all the world’s regions
Recorded music revenues grew in every region around the world in 2020, including:
- Latin America maintained its position as the fastest-growing region globally (15.9%) as streaming revenues grew by 30.2% and accounted for 84.1% of the region’s total revenues.
- Asia grew 9.5% and digital revenues surpassed a 50% share of the region’s total revenues, for the first time. Excluding Japan (which saw a decline of 2.1% in revenue), Asia would have been the fastest-growing region, with exceptional growth of 29.9%
- Featured as a region in the report for the first time, recorded music revenues in the Africa & Middle East region increased by 8.4%, driven primarily by the Middle East & North Africa region (37.8%). Streaming dominated, with revenues up 36.4%.
- Revenues in Europe, the second-largest recorded music region in the world, grew by 3.5% as strong streaming growth of 20.7% offset declines in all other consumption formats.
- The US & Canada region grew 7.4% in 2020. The US market grew by 7.3% and Canadian recorded music revenues grew by 8.1%.
Visit the IFPI Global Music Report 2021 Microsite here for additional information and to download the free State of the Industry Report (English language).
Global Music Report 2021: Full Report – with Data and Analysis: Purchase the full data and analysis report here.
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22nd February 2021 – IFPI, the organisation that represents the recorded music industry worldwide, and four leading music licensing companies (MLCs) in Asia, working with music technology company BMAT, have launched SoundSys, a first-ever, fully scalable, shared system for the distribution of sound recording performance rights revenue around the world.
IFPI, and the respective MLCs in India, Singapore, Indonesia, and Thailand, working with BMAT, have designed, and delivered the industry’s first shared, cloud-based software that serves as a complete, cost-effective back-office distribution system for revenue collected for the broadcasting and public performance of sound recordings and karaoke videos in these countries.
MLCs license the use of music for public performance and broadcast and distribute the license fees back to the right holders they represent. They need sophisticated IT systems that enable them to do this accurately and efficiently. Such systems can however be costly to develop and the unprecedented collaboration saved these MLCs from having to each build their own systems.
IFPI and the four MLCs partnered with the music technology company BMAT to develop SoundSys, which uses their proprietary state of the art technologies to organise, store and match usage and recording data, enabling MLCs to distribute royalties in a timely and cost-efficient manner, in line with global best practice.
The development of SoundSys follows the launch of the repertoire data exchange service, RDx, by IFPI and World Independent Network (WIN) last year, which enables record companies to exchange authoritative data with MLCs through a single, centralised hub. The roll-out of both systems globally will provide a standardised, high quality recording metadata supply pipeline and data processing capability for MLCs that will significantly improve the performance rights management landscape worldwide.
Frances Moore, Chief Executive of IFPI, said: “SoundSys is truly transformative. It results from unprecedented cooperation internationally while exemplifying the strength and professionalism of the music industry in Asia to harness cutting edge music technology and deliver a globally significant advancement.”
“We have launched in Asia in close collaboration with the MLCs that have helped shape and refine the system. It’s proving to be highly effective in assisting the operations of MLCs and we will now be looking to roll it out in other regions that can benefit most from the software.”
Orsi Bozso, SoundSys Project Manager at BMAT, said: “After years of tracking and data-processing next to all music industry players and gaining expertise on the challenges they face, it was a natural next step for us to develop a software that could upgrade copyright management operations.
“IFPI’s expert vision and being in sync with the four MLCs allowed us to use our technology to revamp the way MLCs distribute – bringing transparency, accuracy and reliability to the process.
“It’s been a true pleasure to collaborate with IFPI and the MLCs involved on this journey to compensating creators more efficiently.”
Jusak Sutiono, Director of Indonesian music licensing company, ASIRINDO said: “We are already greatly benefitting from the use of SoundSys in Indonesia. The SoundSys matching process is helping us to ensure we accurately identify the music content we are allocating revenues to, with the software improving the speed with which we can then process the revenue and distribute it to our right holder community.”
Chayapach Sangtabtim, General Manager, PNR (Phonorights) music licensing company in Thailand said: “SoundSys is the result of a truly successful collaboration between MLCs in Asia and IFPI. By combining our knowledge and practical experience, we have created a product that has directly improved our operations in Thailand.
Notes to editors:
For further information please contact:
firstname.lastname@example.org | +44 (0)20 7878 7979
About the Music Licensing Companies
IFPI is the organisation that promotes the interests of the international recording industry worldwide. IFPI and its National Group network has over 8,000 members across more than 70 countries. There are over 70 IFPI offices, National Groups and Affiliated MLCs. IFPI’s mission is to promote the value of recorded music, campaign for the rights of record producers and expand the commercial uses of recorded music in all markets where its members operate.
BMAT is a music innovation company with a mission to index all music usage and ownership data. They are experts in monitoring and reporting music globally across TVs, radios, venues and digital to help all different companies in the music industry better their data operations and help artists get paid for their plays. Every day BMAT delivers 80 million identifications and 27 billion matches to CMOs, publishers, record labels, broadcasters and DSPs.
For SoundSys related enquiries please contact: email@example.com.
Frances Moore, chief executive of IFPI, the organisation that represents the recorded music industry worldwide, has been inducted onto the Music Week Women in Music Roll of Honour.
Established in 2014, 12 women are inducted onto the Roll of Honour annually in recognition of their contribution to the music industry.
According to the publication, “the Roll of Honour aims to highlight the breadth, depth and variety of individuals who are ‘game changers’ in the music industry.”
See the full list of those inducted this year here.
For further information please contact:
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November 3, 11am CET, Seville, Spain – Jasmine Sokko, the rising singer/producer signed to Warner Music Singapore, wins the Best Southeast Asia Act award at the 2019 MTV EMA. This marks a historic win with Jasmine Sokko being the first Singaporean artist to win an MTV EMA award. This announcement for the Best Southeast Asia Act award came ahead of the award ceremony that will be held tonight on November 3, 2019 at Seville, Spain at FIBES Conference & Exhibition Centre of Seville, Spain at 9pm CET (November 4, 4am SGT) with Jasmine Sokko in attendance.
As a first time nominee, Jasmine Sokko has emerged as the fan favourite in the Best Southeast Asia category, ousting Jannine Weigel (Thailand), Moira Dela Torre (Philippines), Rich Brian (Indonesia), Yuna (Malaysia) and Suboi (Vietnam) and brought home the first win representing
Singapore for this year’s ceremony. Past nominees representing Singapore in the Best Southeast Asia Act category includes: Olivia Ong (2013), Stefanie Sun (2014), The Sam Willows (2015, 2017, 2018) and Gentle Bones (2016).
Says Jasmine Sokko, “I still can’t believe this is happening! I’m thrilled, over the moon, beyond grateful and above all, I feel so undeservingly loved. To everyone who voted, thank you all a million. To my label family at Warner Music, thank you for believing in me. To MTV Asia and MTV EMA, thank you for this award.
Sometimes I look back and can’t believe how much have happened in the past year.
I always believe that it’s important to challenge the status quo. Just because nobody has done something before, doesn’t mean it’s not possible. The past year has made me foresee a future in the Singapore music scene that I want to be a part of building.
May the ceiling of mine today be the floor of tomorrow’s generation.”
As part of many firsts, Jasmine Sokko is also the first Warner-signed Asian artist to bring this award for Southeast Asia. Simon Nasser, managing director of Warner Music Singapore who signed Jasmine Sokko to the label, is also in Seville, Spain to attend the award ceremony.
Says Simon Nasser, “Passion and belief are what drive both the label and the artist to work hand-in-hand to create milestones. I’m so amazingly proud of what Jasmine Sokko has achieved and her musical output is incredible. This shows that our artists can go global and together, we can make it work. I hope this sets a fresh new momentum for all Singaporean artists to continue working on their craft and aim for the global stage.”
Making her mark in 2016 with her debut single “1057,” Jasmine Sokko first signed to Warner Music Singapore in 2018 and has since released two chart-topping career-defining singles – “HURT” and “TIRED”. In 2019, she also made her first foray into the China market, with her debut Mandarin single “SHH” released on September 5 with Warner Music China. The singer/producer is currently working on more new music and both Mandarin and English releases are in the pipeline.
The 2019 MTV EMAs is one of the biggest global music events of the year that celebrates the hottest artists from around the world and will broadcast to MTV channels globally on Sunday, November 3 at 9pm CET from FIBES, Conference & Exhibition Centre of Seville, Spain. In Asia, the awards ceremony will broadcast live on MTV Asia on Monday, 4 November 2019, starting with the red carpet premiere at 2.00 AM (WIB), 3.00 AM (SG/MY/PH), and 4.00 AM (MY – Astro). This is followed by the main show at 3.00 AM (WIB), 4.00 AM (SG/MY/PH), and 5.00 AM (MY – Astro). The 2019 MTV EMAs will also be live-streamed on the MTV Play app.
Catch the primetime encore telecast on the same day, 4 November, with the red carpet at 7.00 PM (WIB) and 8.00 PM (SG/My/PH), and the main show at 7.50 PM (WIB) and 8.50 PM
Hosted by Becky G, the awards ceremony also features performances by Warner artists such as Ava Max, Dua Lipa and Green Day.