YouTube Music Curators Media Assets or Next-Gen Labels?
The 20,000 Foot View: The rise of the YouTube channel curator was one of the defining stories in music throughout the 2010s, and yet in the era of global success stories such as Kondzilla and T-Series, their place in the music ecosystem is still being defined. YouTube points both towards the potential future of the label and essentially a new kind of visual media property. This report explores the economics of music on YouTube and what makes rising streaming markets such as Brazil especially favourable for these types of channels. In the context of artist marketing and rights management, a key question emerges: in a pure streaming economy without the legacy of physical and traditional copyright frameworks, are YouTube channel curators positioned to be the most successful music business models?
- YouTube curator in fast-growing streaming markets benefitted latent demand and limited competition
- Latin America of Spotify’s user base but YouTube’s music base
- An average of year olds watch music on YouTube compared to an of consumers aged and above
- Between November and 2018, YouTube paid out in advertising revenue to the music industry
- The present rights organisation (PRO) and collective organisation (CMO) framework takes more from labels than YouTube channels
- YouTube is amenable to music channels that its business model such as creators and curators, which has its growth more than traditional video channels
Companies and brands mentioned in this report: Amazon Music Unlimited, Amazon Prime Music, Amuse, Apple Music, Beggars, Boiler Room, BuzzFeed, Deezer, Google, Google Play Music, Kondzilla, Napster, Patreon, SBTV, Spotify, Trap Nation, T-Series, Universal Music Publishing Group, YouTube, YouTube Music