David Boyle - The State of Dance v09

IMS
Consumer Report 2012

A world tour of dance music consumers Based on 750,000 interviews
ter save this to your compu Click download to the DropBox errors! to see it without
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IMS Consumer Report 2012

Page 1
Summary (1 of 4)
Sec:on 1: Our audience(s): Dont forget the 70% We think that our audience has money, is passionate and has =me to engage with dance ... but actually only 30% of people passionate about dance / electronic music are engaged consumers 70% of people passionate about dance / electronic music are less engaged consumers: they are either too young to have money / be clubbing, have children who have got in the way or are just not cool We spend too much of our =me thinking about the 30% who are engaged consumers and not enough thinking about the 70% who are less-engaged consumers Sec:on 2: So what? ... Experiences We can be beIer at delivering experiences. This is mostly for the engaged consumers, but if were smart about it we can also reach many of the less-engaged with them, too ... Guidance We need to be beIer at delivering guidance. This is mostly for the less-engaged consumers who desperately need guidance from trusted sources to avoid them losing contact with dance music
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Summary (2 of 4)
Sec:on 3: Where in the world Note: all data used in this sec=on will be made available aMer Wednesday here: hIp://links.emi.com/imsconsumerreport 7 high level genres, 45 detailed sub-genres, Decade-by-decade appeal of Rock, Pop, Dance / Electronic By age, gender, age-gender, all people. Metrics: Millions of people and percent of people Australia, Belgium (Flanders and Wallonia), Brazil, Canada, Denmark, Finland, France, Germany, Greece, India, Italy, Japan, Mexico, Netherlands, New Zealand, Norway, Portugal, South Africa, Spain, Sweden, UK, US ... consistent themes Passion grows from age 13 to age 24. We should work hard to get dance music into the lives / spaces that work for young people to grow their passion sooner. Passion peaks between ages 16 and 24. We should super-serve these people to increase their engagement (see engaged consumers above) There is a steady decline in passion from age 25. We should recognise their needs and meet their needs with dance music to slow the decline (see less engaged consumers above) There is a language problem. The most popular dance genre amongst people passionate about dance / electronic music is ... dance - they dont know how beIer to describe what they like.
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Summary (3 of 4)
Sec:on 3: Where in the world (con:nued) ... US Dance / electronic music has only half the passion that Rock music does, even for young people. It has a similar level of passion to Urban music. It is rivalled / beaten by Country music, even for young people. The US has liIle passion for dance (16th of 17), it has the most people who are passionate (1st of 17). A small increase in passion would make a big dierence in the number of people who are passionate. Is that what weve seen in recent years: just a small change in passion that meant a big new audience? ... UK Passion for Dance / Electronic music rivals that for Rock music up to age 25. Its consistently more loved than Urban music. It has no rivals beyond Rock, Pop and Urban. One of the most passionate (4th of 17) and biggest (3rd of 17): the biggest developed market. ... US vs UK The most passionate age group (16-24) are only half as passionate (57%) about dance / electronic music as they are about the biggest genre. In the UK theyre almost as passionate about dance as they are about the genre theyre most passionate about (87%). There is no evidence that dance is older or younger in the UK or the US. The paIern by age is similar in the UK and the US - its just propor=onally bigger in the UK. In the UK dance is preIy mainstream (less engaged consumers are about 75% as passionate about dance as the engaged consumers are) whereas in the US its not very mainstream at all (less-engaged consumers are only about 56% as passionate about dance as engaged consumers are) Passion for the dierent genres of dance music are similar in the US and the UK. Except for Drum n Bass which is more popular in the UK. And except for Techno because the word is oMen used in the US to describe dance / electronic music overall.
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Summary (4 of 4)
Sec:on 4: The brand image of dance People passionate about dance / electronic music describe it as: Cool, Upbeat, Energe=c and Edgy. People not passionate about it describe it as: Boring, Annoying, Intrusive, Supercial and Noisy. The same ar=st is oMen described very dierently in dierent countries. Always as Energe=c, but some=mes as Edgy and Upbeat (France), some=mes Cool (Germany, UK), some=mes Catchy (UK)
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DANCE
Brian Eno
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We also data. Wait: What?!?!

EMI is on the way to a million high-quality, detailed, interviews with all sorts of people all around the world about music
Twelve people around the world are being interviewed for EMI at any given moment. 24h a day, 7 days a week
We love how helpful the results are, alongside skills and judgement
Hear the datas challenges and be smart about which / how you go get them
Wed like to share some of that today (and every year if you like it)
This presenta:on and the detailed data behind it will be online for you. We hope you nd other pa]erns and uses for it. Please share!
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Agenda
1. Our audience(s) 2. So what? The role of experiences The role of guidance 3. Where in the world
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Part 1: Our audience
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People who like a lot or love dance / electronic music
our audience:
Self-defined
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e TH I N K W this is
our audience:
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but ctually a
100% 80%

100%
our audience:
80%
60%
I enjoy music primarily from going out to dance or Music for me is all about nightlife and going out
Paid for digital music often
60%
40%
20%
0%
6%
40%
20%
0%
12%
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but ctually a
our audience:
In the last year:
26%
34%
been to a club with guest DJs
been to an electronic / dance fesAval
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but ctually a
our audience:
in the last year:
58% 26%
been to a regular club night been to an electronic / dance fesAval
34% 15%
been to a club with guest DJs been abroad for music (e.g. Ibiza)
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but ctually a
2%
our audience:
7%
10%
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30% of our audience:
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our audience:
pend too much We s of our time and marketing on products for this group
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Page 18
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Music is important to me, but not more than other interests or I like music, but it does not feature heavily in my life
58%
our audience:
Pop music is fun, it makes me feel good
60%
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e dont spend W gh of our time nearly enou and marketing on products for this group
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Part 2: So what?
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30% Engaged
70% Less-engaged
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30% Engaged
70% Less-engaged
Change the balanc e, depending on the consumers Dont forget guidance youre after Focused on d on Focuse Less-engaged Engaged Consumers consumers em!) (but not only them!) ot only th (but n
Page 24
5 Examples
Gedng consumers closer to the lifestyle. Swedish House Maas Take One From live to an experience to die for. Swedish House Maas Masquerade Motel Bringing Live to the Mainstream. Deadmau5s Earls Court USB Engaging fans online. Deadmau5 Merch that ts the lifestyle. Pacha
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Gedng consumers closer to the lifestyle

with Swedish House Maas Take One
Every type of consumer found Take One in a way that works for them: exclusive cinema screenings, on TV, internet exclusives, in the deluxe album, as an iPad app and in book form.
We dont usually reach so many different types of consumer with one set of assets
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From live to an experience to die for

with Swedish House Maas Masquerade Motel
Swedish House Maa took a residency in Ibizas Pacha nightclub to another level with the branding and mys=que of Masquerade Motel. It became more than live, more than clubbing. It became its own event, that they took on tour to Miami, London and elsewhere. We dont usually make live in to such an experience
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Bringing Live to the Mainstream

with Deadmau5s Earls !Court USB
Deadmau5 carved out a special sec=on of his Earls Court gig to play his own material so that we controlled the rights to record it and make it available to people on his iconic U5B s=cks along with other exclusive content.
We dont usually let people experience gigs without being there
!!
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Engaging fans online

Deadmau5
It takes a special ar=st to want to let fans close the way Deadmau5 does. His Facebook feed is one of the most engaging. By following it you feel closer to him and his music. You get to know him and he gets to know his fans by constantly engaging them and sharing their comments and contribu=ons.
We dont u engage o sually really ur online fans
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Merch that ts the lifestyle

Pacha
Their merch range recognises that: 1. People want to make dance part of their lifestyle, outside clubs / music 2. Many consumers have aged, have children, but s=ll want to express themselves through their Pleasure- Seeker days
We often dont think beyond tshirts
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5 Examples
Compila:on brands Brand partnerships Other ar:st brands Our ar:sts brand Build a brand
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Example: Compila:on brands
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Example: Brand partnerships

Brands have enormous reach:
1,000,000,000
every day
cans of Coke are drunk
How does that compare to the number of people listening to your music?
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But pick appropriate brands
Page 34
as made. of David Guettas story w A movie it. 15 million people have seen Thanks to Burn
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+
?
Research: 85% of fans felt it would enhance their percep:on of David
In a couple of weeks wed asked thousands of David Guettas fans in four countries what they thought. Getting the right partnership for the artist and the brand is key
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Example: Other ar:st brands
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Page 38
Lets take a moment to think about the reach this guidance achieved:
David Gue]a: 32,442,691 likes
Based on collaborators from the last two albums: Kelly Rowland (1,933k), Fergie (6,212k), LMFAO (17,288k), will.i.am (3,089k), Rihanna (56,043k), Ne - Yo (8,100k), Dirty South (132k), Estelle (165k), Nicki Minaj (19,027k), Taio Cruz Page 39 (7,371k), Ludacris (4,556k), Snoop (18,046k), Lil Wayne (37,918k), Usher (30,417k), Akon (39,237k), Tibaland (2,418k), Chris Brown (21,703k), Jennifer Hudson (3,949k), Jessie J (6,836k), Sia (482k)
x9
284,922,169
(each offered guidance to a different audience in different genres from a different trusted source)
Collaborators:
Example: Our ar:sts brand

Deadmau5 has such a clear and recognizable brand that less- engaged consumers can easily remember him and have something to iden=fy him by. But an ar=sts brand is not just about imagery. What's the story?
Most artists dont have a brand that fans can remember
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Example: Build a brand

From visionaries like KraMwerk and Brian Eno, the development of synth-pop stars like Depeche Mode and Human League, the explosion of dance music culture in the late 80s to the rise of global superstars like DaM Punk and David GueIa During 2012 we will reach out to all fans of Electronic Music with an ambi=ous campaign Over 500 albums will be featured, between them having sold 119,000,000 copies We have developed products and promo=ons targeted at specic consumers groups, be they cuqng edge tastemakers or lapsed fans. Fans will be engaged by a variety of trade marke=ng assets, price campaigns, via devoted social media channels, commercial partnerships and compe==ons
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Example: Build a brand

Genera:on Y Size Spend Typical album Targeted Media Rave Culture Purists Electro Poppers
Product
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Part 3: Where in the world

100%$
(And
87% 71%
v
UK#
US$
80%$
60%$
59%
62%
57%$
40%$
43%$
US#
48%$
45%$
46%
31%
28%$ 20%$
24%$
21%
20%$
0%$ 13$to$15$ 16$to$24$ 25$to$34$ 35$to$44$ 45$to$54$ 55$to$64$ 65+$
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Passion for dierent genres

80%
70%
ROCK
60%
COUNTRY
POP
50%
CLASSICAL
COUNTRY
40%
ROCK
BLUES&/&JAZZ&/&SOUL BLUES&/&JAZZ&/&SOUL
CLASSICAL
DANCE / ELECTRONIC
30%
POP
20%
URBAN
10%
DANCE / ELECTRONIC
URBAN
0%
13 to 15
16 to 20
21 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people
Page 44

80%
e: f danc o state The
70%
60%
COUNTRY
50%
CLASSICAL
40%
ROCK
BLUES&/&JAZZ&/&SOUL
30%
POP
20%
10%
DANCE / ELECTRONIC
n passio he half t op Only p ock / st of r ong ROCK en am ple) (ev peo oungPOP y n passio ar SimilCOUNTRY an o Urb t en BLUES&/&JAZZ&/&SOUL / beat CLASSICAL Rivaled ntry u DANCE by Co/ ELECTRONICst ong URBAN am en (ev ple) g peo youn
URBAN
0%
13 to 15
16 to 20
21 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people
Page 45

90% 80%
CLASSICAL
POP ROCK
70%
60%
COUNTRY
50%
ROCK POP
40%
BLUES./.JAZZ./.SOUL
CLASSICAL
DANCE / ELECTRONIC
BLUES./.JAZZ./.SOUL
URBAN
30%
COUNTRY
20%
DANCE / ELECTRONIC
10%
URBAN
0%
13 to 15
16 to 20
21 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people
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90% 80%
CLASSICAL
70%
e: f danc o state The n passio he ivals t / pop R ck of ro ge 25 a up to POP
60%
COUNTRY
50%
ROCK POP
40%
BLUES./.JAZZ./.SOUL
tly sisten Con ved ore lo n m ba an Ur th

ROCK
CLASSICAL
30%
20%
DANCE / ELECTRONIC
ond ls bey a No riv op COUNTRY p rock, an URBAN rb and u

DANCE / ELECTRONIC
BLUES./.JAZZ./.SOUL
10%
URBAN
0%
13 to 15
16 to 20
21 to 24
25 to 34
35 to 44
45 to 54
55 to 64
65+
All people
Page 47
Our share of music passion around the world

Dance#/#Electronic#passion#as#a#percent#of#the#most#popular#genre#
Each grey line is a different country 100%#
80%#
60%#
40%#
20%#
0%# 13#to#15# 16#to#24# 25#to#34# 35#to#44# 45#to#54# 55#to#64# 65+#

Page 48
Our share of music passion around the world

Dance$/$Electronic$passion$as$a$percent$of$the$most$popular$genre$
Each grey line is a different country 100%$
80%$ 75%$ 67%$ 60%$ 60%$
40%$
20%$
Growing passion Grow it quicker! In their world, social spaces

13$to$15$ 16$to$24$ 25$to$34$ 35$to$44$
Clear peak at 16-24 Super-serve them to increase the peak Steady decline Meet their needs to slow decline 54%$
40%$ 32%$ 26%$
Average
0%$ 45$to$54$ 55$to$64$ 65+$

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The US is at the bo]om of the pack

Dance$/$Electronic$passion$as$a$percent$of$the$most$popular$genre$ Dance / Electronic passion as a percent of the most popular genre
Each grey line is a different country
100%$
US$
80%$
60%$
57%$ 48%$
40%$
43%$
ar is only about half as popul Dance as the most popular genre The opportunity for growth FAR outweighs any 45%$ recent achievements
28%$ 24%$ Avg$ 20%$
20%$
0%$ 13$to$15$ 16$to$24$ 25$to$34$ 35$to$44$ 45$to$54$ 55$to$64$ 65+$

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Note: Based on 12,000 interviews in January 2012
the UK scores 50% be]er than the US

Dance$/$Electronic$passion$as$a$percent$of$the$most$popular$genre$ Dance / Electronic passion as a percent of the most popular genre
Each grey line is a different country
100%$
87%
80%$
71%
60%$
59%
57%$ 48%$
almost the Dance is ! pular genre most po e Same shap as the US! er' ounger / old Not y 62%
45%$
46%
US$
40%$
43%$
28%$ 20%$
31%
24%$
Avg$
21% 20%$
0%$ 13$to$15$ 16$to$24$ 25$to$34$ 35$to$44$ 45$to$54$ 55$to$64$ 65+$

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Passion'for'Dance'/'Electronic'music'amongst''All'People''in'each'country RankedGbyGpercentGofGpopulation RankedGbyGmillionsGofGpeople
The most passionate dance markets
1st 2nd 3rd 4th 5th 6th 7th 8th 9th 10th 11th 12th 13th 14th 15th 16th 17th
42%G 40%G 38%G 38%G 36%G 36%G 35%G 35%G 34%G 33%G 33%G 32%G 30%G 29%G 29%G 25%G 11%G
BEFL NZ CA UK BEWA ES SE DK FR NO NL AU DE IT FI US JP
US
G64GG G22GG G20GG G19GG G17GG G15GG G14GG G12GG G6GG G4GG G3GG G2GG G2GG G2GG G2GG G1GG G1GG
Page 52
The biggest dance markets
DE UK FR JP IT ES CA AU NL SE BEFL DK NO FI BEWA NZ
Passion'for'Dance'/'Electronic'music'amongst''All'People''in'each'country RankedGbyGpercentGofGpopulation 1st 2nd 3rd 4th 5th 6th 7th 8th 9th 10th 11th 12th 13th 14th 15th 16th 17th
42%G 40%G 38%G 38%G 36%G 36%G 35%G 35%G 34%G 33%G 33%G 32%G 30%G 29%G 29%G 25%G 11%G
RankedGbyGmillionsGofGpeople BEFL NZ CA UK BEWA ES SE DK FR NO NL AU DE IT FI US JP US DE UK FR JP IT ES CA AU NL SE BEFL DK NO FI BEWA NZ

G6GG G4GG G3GG G2GG G2GG G2GG G2GG G1GG G1GG G22GG G20GG G19GG G17GG G15GG G14GG G12GG G64GG
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Note: more countries are available. But cant be compared directly because of differences in the research
42%G 40%G
RankedGbyGmillionsGofGpeople BEFL NZ CA US DE UK FR JP IT ES CA AU NL SE BEFL DK NO FI BEWA NZ

G6GG G4GG G3GG G2GG G2GG G2GG G2GG G1GG G1GG G22GG G64GG
38%G
38%G
Li]le passion, but the biggest market

UK BEWA ES SE DK FR NO NL AU DE IT FI US
11%G
1st 2nd
36%G 36%G 35%G 35%G 34%G 33%G 33%G 32%G 30%G 29%G 29%G 25%G
A sm a ll incre 3rd G19GG in 4th passio ase n G17GG will go 5th G15GG a LON 6th G wa G14GG y7th
G20GG G12GG
Is that w 8th hat wev seen in recent y 9the ears? (Small in crease?) 10th
11th 12th
JP
Less-engaged14th only half 15th as passionate 16th as engaged 17th
13th
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42%G 40%G 38%G 38%G 36%G 36%G 35%G
RankedGbyGmillionsGofGpeople BEFL NZ CA UK BEWA ES SE US DE UK FR JP IT ES CA AU NL SE

G6GG G4GG G3GG G22GG G20GG G19GG G17GG G15GG G14GG G12GG G64GG
1st 2nd 3rd 4th 5th 6th 7th 8th 9th 10th 11th
35%G
34%G
33%G
33%G
Passion and size: the biggest developed market

DK FR NO NL AU DE IT FI US
11%G 30%G 29%G 29%G 25%G
32%G
rs onsume12th c G2GG BEFL e ngaged Less-eG2GG as passionat13th DK almost ance music 14th G2GG NO o rs abG2GGut d consume15th FI engaged as
BEWA NZ
G1GG
16th 17th
JP
G1GG
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How mainstream is dance / electronic music?

UK: pretty mainstream. US: still niche
How$passionate$are$mainstream$consumers$about$Dance$/$Electronic$ (as$%$of$how$passionate$engaged$consumers$are)$
87%$
86%$
83%$
79%$
78%$
umers gaged cons Less-en ate as passion almost sic t dance mu abou mers aged consu as eng
74%$
74%$
72%$
69%$
67%$
66%$
65%$
64%$ 57%$ 56%$ 55%$
Less-engaged only half as passionate as engaged
DK$
BEFL$ BEWA$
ES$
CA$
UK$
NO$
SE$
NZ$
FR$
FI$
DE$
NL$
AU$
US$
JP$
Most Mainstream (Less-engaged are almost as passionate as engaged consumers!)
Least mainstream (Less-engaged are as half as passionate as engaged consumers!) Page 56
Which dance genres pop and where?

Percent'of'US'dance'fans'that'are'passionate'about'each'sub4genre'
90%& 80%& 70%& 60%& 50%& 40%& House& 30%& 20%& 10%& 0%& 13&to&15& 16&to&24& 25&to&34& 35&to&44& 45&to&54& 55&to&64& 65+& All&people&
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nce, aint it? type? I dont know. Just da what
The total is more interesting than the age breakdown

Dance&
Dubstep is the most targeted
Language
Techno& Electronic&
Drum&n&Bass& Dubstep& Trance& Hardcore&/&Hard&Dance&
Which dance genres pop and where?

Percent'of'UK'dance'fans'that'are'passionate'about'each'sub4genre'
90%& 80%& 70%& 60%& 50%& 40%& 30%& 20%& 10%& 0%& 13&to&15& 16&to&24& 25&to&34& 35&to&44& 45&to&54& 55&to&64& 65+& All&people&
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Just dance, isnt it? what type? I dont know.
The total is more interesting than the age breakdown

Dance&
Dubstep, Drum n Bass very targeted
Electronic& Drum&n&Bass& House& Techno& Trance& Dubstep& Hardcore&/&Hard&Dance&
UK-US dierences in dance genres?

he similarities are bigger T e differences than thDance&genres&amongst&All&People&
US$ UK$
68%$
67%$
46%$
42%$
40%$
36%$
36%$
52%$ 25%$ 22%$ 25%$ 19%$

Hardcore&/& Hard&Dance&
Dance&
Electronic& Drum&n&Bass& Dubstep&
18%$
House&
Trance&
21%$
25%$
Techno&
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31%$
Part 4: The brand image of dance
What rejectors of dance think
Page 60
The global brand image of dance

Fans Rejectors
Note: Based on research in ten countries
Page 61
Beyond energe:c: countries appreciate dierent things

How one major dance artist is seen in different countries
Note: we research many artists signed to other labels as well as EMI artists. Please dont try to guess who this is!
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Summary
1. Our audience(s): Dont forget the 70% 2. So what? The role of experiences: ve examples The role of guidance: four examples 3. Where in the world: country-by-country (focus on US vs UK)
Page 63
Take the data. Have fun with it!

Country-demographic-genre data online:
hIp://links.emi.com/imsconsumerreport
Please share what you do with it! And please shout if you want other data or if we can help with other research. david.boyle@emimusic.com
Passion'for'Dance'/'Electronic'music'amongst''All'People''in'each'country RankedHbyHpercentHofHpopulation 1st 2nd 3rd 4th 5th 6th 7th 8th 9th 10th 11th 12th 13th 14th 15th 16th 17th 18th 19th
53%H 42%H 41%H 40%H 38%H 38%H 36%H 36%H 35%H 35%H 34%H 33%H 33%H 32%H 30%H 29%H 29%H 25%H 11%H
RankedHbyHmillionsHofHpeople ZA BEFL GR NZ CA UK BEWA ES SE DK FR NO NL AU DE IT FI US JP US DE UK FR JP IT ES CA AU NL ZA SE GR BEFL DK NO FI BEWA NZ

H6HH H4HH H4HH H3HH H3HH H2HH H2HH H2HH H2HH H1HH H1HH H22HH H20HH H19HH H17HH H15HH H14HH H12HH H64HH
1st 2nd 3rd 4th 5th 6th 7th 8th 9th 10th 11th 12th 13th 14th 15th 16th 17th 18th 19th
Please contact david.boyle@emimusic.com for more info on the data or to share what you have done with it.
Page 64
Take the data. Have fun with it!

Country-demographic-genre data online:
hIp://links.emi.com/imsconsumerreport
Please share what you do with it! And please shout if you want other data or if we can help with other research. david.boyle@emimusic.com
7 high level genres 45 detailed sub-genres
Decade-by-decade appeal of Rock, Pop, Dance / Electronic

By age, gender, age-gender, all people
Australia, Belgium-Flanders, Belgium-Wallonia, Brazil, Canada, Denmark, Finland, France, Germany, Greece, India, Italy, Japan, Mexico, Netherlands, New Zealand, Norway, Portugal, South Africa, Spain, Sweden, UK, US Metrics: Millions of people and percent of people
Please contact david.boyle@emimusic.com for more info on the data or to share what you have done with it.
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Page 66
More info on the data used here

Overview EMI Music conducts regular, high quality online interviews with people around the world. We have over 750,000 interviews at the moment and are heading rapidly towards a million. The interviews were conducted online, but EMI tries to reach people as representa=ve of the overall popula=on as possible. This usually works preIy well. But in some countries, this isn't possible and the interviews aren't as representa=ve as we'd like (ZA, GR for example) EMI has been conduc=ng large, regular online interviews of consumers since early in 2009. These interviews have helped to drive EMIs deep understanding of the music industry and has deeply touched how weve helped our ar=sts around the world and at all levels over that =me. By really understanding the music market we have beIer understood how to help our ar=sts to be successful in those markets. By having rich data available we have been able to help more ar=sts more quickly, accurately and globally that we would otherwise have been able to. EMI has become very good at using this data alongside its skills and judgement to make decisions. Geqng that balance right is dicult in any industry and especially in music. This report aims to share some of the key data from those interviews to enable others to benet and in the hope that many eyes will bring new insights. High quality: since research agencies were used to iden=fy high quality respondents and to lter out people not taking the interview seriously Detailed: across the approximately twenty minutes, we cover a very wide range of music-related issues, aqtudes and behaviours Interes:ng: all the ques=ons were scripted by EMI and so almost every issue and ques=on that was on our mind made it into a survey at some point Global: Data is available in Australia, Belgium, Brazil, Canada, Germany, Denmark, Spain, Finland, France, Greece, India, Italy, Japan, Mexico, Netherlands, Norway, New Zealand, Portugal, Saudi Arabia, Sweden, UK, US, South Africa Large: each research project has a minimum of 3,000 interviews and usually has 5,000 in big countries. Some have more than 10,000 interviews This data set covers consumers' passion for genres of music. But in the larger data set we have literally covered every subject we thought interes=ng to the music industry overall (not just the recorded music industry). Some of the subjects covered include: Demographics, life stage, educa=on, geography, Interest and passion for music overall and by genre and sub-genre Aqtudes and behaviours regarding music discovery, engagement and consump=on. E.g. piracy, streaming, CDs, YouTube, Media consump=on and whats useful for music discovery. E.g. radio, music magazines, blogs, social networking, twiIer, ... Awareness, apprecia=on and engagement with specic ar=sts Apprecia=on, familiarity and brand percep=on for specic pieces of music and videos
Page 67
More info on the data
The online research is:
Subjects covered
APPENDIX: Country-by-country genre-age charts for other countries
Page 68
AU
90%
80%
70%
ROCK POP
60%
50%
40%
COUNTRY CLASSICAL BLUES / JAZZ / SOUL DANCE / ELECTRONIC
30%
20%
URBAN OTHER
10%
0% 13 to 15 16 to 24 25 to 34 35 to 44 45 to 54 55 to 64 65+ All people
Page 69
BEFL
90%
80%
70% POP 60% ROCK
50%
40%
DANCE / ELECTRONIC CLASSICAL BLUES / JAZZ / SOUL OTHER COUNTRY
30%
20%
URBAN
10%
Page 70
NO
80%
70%
60%
POP ROCK
50%
40% CLASSICAL COUNTRY DANCE//JAZZ / SOUL BLUES ELECTRONIC 30% OTHER 20% URBAN
10%

Page 71
NZ
90%
80%
70% ROCK 60% POP
50% COUNTRY CLASSICAL / SOUL DANCE//JAZZ BLUES ELECTRONIC
40%
30%
OTHER URBAN
20%
10%

Page 72
DK
90%
80%
70%
POP ROCK
60%
50%
40%
CLASSICAL COUNTRY BLUES //JAZZ / SOUL DANCE ELECTRONIC
30% OTHER 20% URBAN 10%

Page 73
ES
90%
80% POP 70%
60%
50%
ROCK CLASSICAL
40% DANCE / ELECTRONIC BLUES / JAZZ / SOUL 30% COUNTRY OTHER 20% URBAN
10%
Page 74
DE
90%
80%
70% POP 60% ROCK 50%
40%
30%
CLASSICAL DANCE / ELECTRONIC COUNTRY BLUES / JAZZ / SOUL OTHER
20%
10%
URBAN

Page 75
FR
90%
80% POP 70%
60% ROCK 50%
40%
BLUES / JAZZ / SOUL CLASSICAL DANCE / ELECTRONIC
30% COUNTRY 20% OTHER URBAN
10%

Page 76
NL
90%
80%
70% POP 60%
50% ROCK 40% OTHER 30% DANCE / ELECTRONIC BLUES / JAZZ / SOUL CLASSICAL COUNTRY 20% URBAN 10%
Page 77
BEWA
90%
80%
70%
60%
POP ROCK
50%
40%
CLASSICAL BLUES //JAZZ / SOUL DANCE ELECTRONIC OTHER
30%
COUNTRY
URBAN 20%
10%

Page 78
CA
90%
80%
70%
ROCK POP
60%
50% COUNTRY 40% DANCE / ELECTRONIC CLASSICAL BLUES / JAZZ / SOUL 30% URBAN OTHER 20%
10%
Page 79
FI
90%
80%
70% POP ROCK
60%
50%
40% CLASSICAL 30% DANCE ELECTRONIC BLUES //JAZZ / SOUL COUNTRY OTHER
20%
10%
URBAN

Page 80
JP
60%
50%
40%
POP
CLASSICAL 30% BLUES / JAZZ / SOUL ROCK 20%
10%
URBAN OTHER COUNTRY DANCE / ELECTRONIC

Page 81
SE
90%
80% ROCK 70% POP
60%
50%
40%
CLASSICAL COUNTRY DANCE / ELECTRONIC BLUES / JAZZ / SOUL OTHER
30%
20% URBAN 10%
Page 82
IT
90%
80%
70%
60%
ROCK POP
50%
40% CLASSICAL 30% BLUES //JAZZ / SOUL DANCE ELECTRONIC COUNTRY OTHER URBAN
20%
10%

Page 83
ZA
100%
90%
80%
70%
POP ROCK
60% CLASSICAL DANCE / ELECTRONIC COUNTRY BLUES / JAZZ / SOUL OTHER URBAN
50%
40%
30%
20%
10%

Page 84
IN
80%
70%
60% CLASSICAL POP
50%
ROCK 40% DANCE / ELECTRONIC COUNTRY 30% URBAN/ JAZZ / SOUL BLUES 20% OTHER
10%

Page 85
GR
90%
80% ROCK 70%
60%
POP
50%
40%
DANCE//JAZZ / SOUL BLUES ELECTRONIC CLASSICAL
30%
20%
URBAN COUNTRY
10%
OTHER

Page 86
Avg
80%
70% POP 60% ROCK
50%
40% CLASSICAL BLUES //JAZZ / SOUL DANCE ELECTRONIC COUNTRY
30%
OTHER 20% URBAN
10%
Page 87

David Boyle - The State of Dance v09

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IMS

Consumer Report 2012

IMS Consumer Report 2012

We also data. Wait: What?!?!

IMS Consumer Report 2012

Part 1: Our audience

People who like a lot or love dance / electronic music

People who like a lot or love dance / electronic music

Paid for digital music often

People who like a lot or love dance / electronic music

been to a club with guest DJs

been to an electronic / dance fesAval

People who like a lot or love dance / electronic music

been to a regular club night been to an electronic / dance fesAval

People who like a lot or love dance / electronic music

30% of our audience:

70% of our audience:

70% of our audience:

People who like a lot or love dance / electronic music

Pop music is fun, it makes me feel good

70% of our audience:

Gedng consumers closer to the lifestyle

From live to an experience to die for

Bringing Live to the Mainstream

Engaging fans online

Merch that ts the lifestyle

Example: Compila:on brands

Example: Brand partnerships

cans of Coke are drunk

Example: Brand partnerships

Example: Brand partnerships

Example: Brand partnerships

Research: 85% of fans felt it would enhance their percep:on of David

Example: Other ar:st brands

David Gue]a: 32,442,691 likes

Example: Our ar:sts brand

Example: Build a brand

Example: Build a brand

Part 3: Where in the world

0%$ 13$to$15$ 16$to$24$ 25$to$34$ 35$to$44$ 45$to$54$ 55$to$64$ 65+$

Passion for dierent genres

Passion for dierent genres

e: f danc o state The

Passion for dierent genres

Passion for dierent genres

e: f danc o state The n passio he ivals t / pop R ck of ro ge 25 a up to POP

tly sisten Con ved ore lo n m ba an Ur th

ond ls bey a No riv op COUNTRY p rock, an URBAN rb and u

Our share of music passion around the world

0%# 13#to#15# 16#to#24# 25#to#34# 35#to#44# 45#to#54# 55#to#64# 65+#

Our share of music passion around the world

80%$ 75%$ 67%$ 60%$ 60%$

Growing passion Grow it quicker! In their world, social spaces

0%$ 45$to$54$ 55$to$64$ 65+$

The US is at the bo]om of the pack

0%$ 13$to$15$ 16$to$24$ 25$to$34$ 35$to$44$ 45$to$54$ 55$to$64$ 65+$

Note: Based on 12,000 interviews in January 2012

the UK scores 50% be]er than the US

0%$ 13$to$15$ 16$to$24$ 25$to$34$ 35$to$44$ 45$to$54$ 55$to$64$ 65+$

Passion'for'Dance'/'Electronic'music'amongst''All'People''in'each'country RankedGbyGpercentGofGpopulation RankedGbyGmillionsGofGpeople

The most passionate dance markets

The biggest dance markets

RankedGbyGmillionsGofGpeople BEFL NZ CA UK BEWA ES SE DK FR NO NL AU DE IT FI US JP US DE UK FR JP IT ES CA AU NL SE BEFL DK NO FI BEWA NZ