London, 14th September 2016 – The European Commission today adopted its proposal to address copyright in the Digital Single Market. IFPI welcomes this initiative, which attempts to address the “value gap”, the most important issue facing the music sector in  Europe and worldwide.

The “value gap” is the massive mismatch between the growing consumption of music worldwide and the disproportionately small revenues that are returned to rights holders.  It is caused by a market distortion allowing some major digital services to circumvent the normal rules of music licensing. This denies musicians, artists, composers and investors fair compensation for their work; lowers investment in and diversity of new music; and skews competition among digital services.

IFPI sees today’s proposal as a good first step in the process. Notably, the proposal confirms that user uploaded content services that promote and monetise music should be covered by the same copyright rules as other on-demand services.

Commenting on the proposal, IFPI Chief Executive, Frances Moore said: “The music industry has transformed itself in recent years, licensing hundreds of services, widening choices for consumers and investing in new, creative ways to bring artists to a global audience.  But to achieve sustainable growth, the music sector needs a level playing field. This means creating an environment where copyright rules are correctly applied so that creators and producers can be confident to invest and license.  It also means allowing digital services to compete on fair terms and enabling consumers to enjoy access to diverse sources of licensed music.

“Today’s proposal is a good first step towards creating a better and fairer licensing environment in Europe. Importantly, it confirms that user uploaded content services such as YouTube, which are the largest source of on-demand music, should not be able to operate outside normal licensing rules.  However, there is a lot more to do to make this a workable proposal. We look forward to working on this in the coming months with the Parliament and Member States.”

For further information please contact

Adrian Strain or John Blewett, IFPI – 

Tel.  +44 (0)20 7878 7935

 Notes to editors:

About IFPI

IFPI is the organisation that promotes the interests of the international recording industry worldwide. Its membership comprises some 1,300 major and independent companies in 60 countries. It also has affiliated industry national groups in 57 countries.  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.

L’IFPI présente aujourd’hui une nouvelle étude réalisée par Ipsos qui donne un coup de projecteur sur les nouveaux modes de consommation de la musique dans le monde et les tendances qui se dessinent. Cette enquête a été menée dans 13 marchés majeurs de la musique enregistrée auprès d’internautes âgés de 13 à 64 ans, offrant ainsi une perspective unique sur l’engagement du public pour la musique.

La Musique a un impact considérable dans nos pays et nos cultures. L’enquête montre que 7 internautes sur 10 dans le monde, âgés de 16 à 64 ans  consomment de la musique légalement : ils achètent des CDs et des vinyles, des fichiers numériques, ils utilisent des services de streaming, regardent des vidéos musicales. En fait, près de la moitié des internautes (48%) ont payé pour la musique qu’ils consomment, d’une manière ou d’une autre.


L’IFPI vient de publier le classement des 10 artistes les plus populaires dans le monde en 2015 et c’est Adèle qui décroche le titre de “ Global Recording Artist of 2015” avec son album « 25 » qui a dépassé les 15 millions d’exemplaires vendus depuis sa sortie en novembre dernier. Elle succède ainsi à One Direction (2013) et à Taylor Swift (2014).

Cette liste est établie à partir des performances des enregistrements d’un artiste au cours de l’année écoulée, à travers toutes les formes de consommation: CDs, téléchargements, streaming audio et vidéo.


International music trade body names Adele the Global Recording Artist of 2015 across all music formats

 London, 8th February 2016 – Adele has been named by IFPI as the most popular recording artist across the globe in 2015, reflecting the phenomenal success of her record-breaking third album, 25.

The singer/songwriter is the third recipient of the IFPI Global Recording Artist of the year award, a unique accolade that reflects an artist’s worldwide popularity across physical formats, downloads and streams.

Adele’s success at the top of the chart was driven by the October release and subsequent phenomenal global success of lead single Hello from the album.  The track was number one in more than 30 countries worldwide, including the US, Germany, France, Italy, Australia and the UK.

Adele’s album 25 followed in November and to date has notched up worldwide sales of over 15 million.

Commenting on today’s award, IFPI chief executive Frances Moore said: “I’m delighted to be able to honour Adele as the most popular global recording artist of 2015. Her album 25 has been the runaway global sensation of the year, breaking records across the world and reaching a vast audience of fans. All of the artists in our top 10 chart have achieved incredible success – and Adele’s achievement is simply phenomenal”.

IFPI’s Global Recording Artist award and top 10 chart is the first and only ranking to accurately capture the popularity of artists across streaming channels, alongside digital and physical album and singles sales on a global basis.  Recipients in 2013 and 2014, respectively, were One Direction and Taylor Swift.

Of the top 10 artists featuring in IFPI’s 2015 global chart, Ed Sheeran took second place, one up from the third spot he occupied on the 2014 ranking.

The singer/songwriter, who released his second studio album x in June 2014, sold out Wembley stadium in the UK on three consecutive nights in summer 2015.  He also had a high profile in 2015 with a busy schedule of touring, award wins and personal appearances, whilst launching his very own record label, Gingerbread Man Records, an imprint of Atlantic Records UK.

In February 2015, Sheeran received the award for British Male Solo Artist and the top accolade for British Album of the Year for x at the 2015 BRIT Awards and in May picked up an Ivor Novello Award for songwriter of the year.  He also co-hosted the 2015 MTV Europe Music Awards in October and ended the year as Spotify’s most streamed act of all time (overtaking Eminem) with more than three billion streams, including more than 59 million listens in 2015 alone.

In third place this year was Taylor Swift, who was the recipient of the 2014 IFPI Global Recording Artist award.  Swift had a phenomenally busy  year with her October 2014 release 1989 continuing to dominate the worldwide charts in 2015 after notching up 1.3 million sales in the first week of release in the US alone.  The album subsequently went on to sell 5.5 million copies by the end of 2015 in the US.

In early 2015 Swift released a deluxe version of 1989, which had been exclusively launched the previous year at Target and, in May, she began the massive 85-date 1989 World Tour.  By the time the tour, which featured guests including Ed Sheeran and The Weeknd, ended in December 2015 it had become the highest grossing tour of the year.

Justin Bieber took the fourth spot and One Direction (recipients of the 2013 Global Recording Artist award) were placed fifth.

Top 10 Global Recording Artists of 2015 (source: IFPI)

1                 Adele

2                 Ed Sheeran

3                 Taylor Swift

4                 Justin Bieber

5                 One Direction

6                 Coldplay

7                 Maroon 5

8                 Sam Smith

9                 Drake

10              The Weeknd

The independently verified Global Recording Artist chart includes sales of albums – across digital, CD and vinyl formats; singles, both downloaded and physical; on-demand audio streams and music videos across the calendar year.

The chart includes all the music of each artist featured, not just one track or album. It uses track and album equivalents to combine measurements of downloads, physical sales and streams.

For further information please contact Adrian Strain Tel.  +44 (0)20 7878 7939 / 7935   Email:

Notes to editors:

The compilation of the IFPI top artist chart has been independently verified through certain agreed procedures by BDO LLP.  BDO LLP has verified that IFPI has compiled the chart correctly in line with the outlined procedures.

About IFPI

IFPI is the organisation that promotes the interests of the international recording industry worldwide. Its membership comprises some 1,300 major and independent companies in 62 countries. It also has affiliated industry national groups in 57 countries.  IFPI’s mission is to promote the value of recorded music, safeguard the rights of record producers and expand the commercial uses of recorded music in all markets where its members operate.


By Frances Moore, Chief Executive, IFPI


One month from now, music fans around the world will for the first time be able to access new albums and singles on the same day. This is a big achievement.  The global release day levels the playing field for music fans internationally. It can raise awareness of newly-released tracks and albums globally. And it’s a celebration of new music on an international scale.


Today, we have revealed the “New Music Fridays” branding that will accompany this change.  Most consumers today probably don’t know what day of the week new releases come out. In future, we hope it will be a case of “Think Fridays …think new music”.


Many in the industry have asked why global release day did not happen years ago.  But the truth is that switching to a single global release day has been a huge project, involving more than 40 national markets, many different interest groups and thousands of individuals and companies.


The launch of “New Music Fridays” comes after a year of intense consultations and preparation.  It is the reward of a collaborative effort bringing together major and independent record companies, retailers, charts providers, artists and musicians.


From the outset at the centre of the global release day discussions has been the music fan.  In today’s connected world, it simply makes no sense that an album could be released in Australia on a Friday, but not be available in the UK until the following Monday, or in the US until the subsequent Tuesday.


In the past, this did not particularly matter much.  Various countries had developed their own agreed release days in isolation, while others did not adhere to a single release day at all.  But today’s fans around the world are united online through social media.  If a consumer in Sydney is streaming and tweeting about a new album on a Friday afternoon, then one in Seattle will know about it.


It is understandable that fans in markets where the album isn’t yet released are frustrated that they cannot access it on licensed services.  And the risk then is that some of them turn to illegal sites to access the music.


The consumer case for a global release day has not been contentious. Indeed, there has been huge support from across the world, from labels, retailers and the artist community.  There was, however, debate over the day with some countries understandably sceptical about moving away from their own national release days.


There are various insights that support a Friday release day.  Most important, research by TNS Ncompass across seven leading markets – Brazil, France, Italy, Malaysia, Spain, Sweden and the US – found a strong preference for the start of the weekend.  Almost seven in ten of consumers who expressed a preference favoured a Friday or Saturday, and this pattern was consistent across all the markets surveyed.


Other data shows that Friday is the best time for impulse buying and social media activity.  And this is supported by many retailers. In the succinct words of Paul McGowan, CEO of HMV’s owner, Hilco:  “New music should hit the high street when people hit the high street”.


Once the decision was made in February to move ahead with implementation, the focus shifted to the enormous logistics involved. A cross-industry international steering committee co-ordinated the project, its activities mirrored locally by similar bodies led by IFPI’s affiliated national groups.  These groups focused on three areas: supply chain reform, chart modification and marketing and promotion.


Reforming the supply chain has been a very significant task.  Some 35 markets worldwide are having to switch release day to a Friday.


There has also been a knock-on effect in the compilation of the charts.  For example in the UK, the Official Charts Company used to supply charts on a Sunday to the BBC for broadcast on Radio 1.  From 10th July, that process will take place on a Friday to reflect the new release week.  Similar changes are happening around the world.


We’re also working hard on the promotion of “New Music Fridays”.  A brand and logo has been created, available in more than a dozen languages, for all retailers and record companies to use as part of their individual release campaigns.  These will play a vital part in the campaign to encourage the public to think Fridays, think new music.


“New Music Fridays” has been a tremendous example of cross-industry collaboration.  While no switchover will ever be 100 per cent flawless, we think that all the ground has been covered to make the switchover work.  I believe this is a big step forward for the whole music sector.  The task now is to embrace the marketing opportunity that “New Music Fridays” offer to help promote great new music to fans worldwide.


This article originally appeared in Music Week


For further information please contact Adrian Strain or Alex Jacob

+44 (0) 20 7878 7939, +44 (0) 20 7878 7940




IFPI publishes RECORDING INDUSTRY IN NUMBERS – an essential guide to global markets

RIN 2014


London, 1st April 2014 – IFPI today publishes its annual Recording Industry in Numbers, providing comprehensive data for 50 territories and in-depth analysis of industry and consumer trends across the global music sector.


The Recording Industry in Numbers (RIN) is the essential guide to the global music business, containing a wealth of definitive data exclusively compiled by IFPI.  Key highlights of the 2013 edition include:


  • Revenue streams. Detailed analysis of the industry’s diverse and evolving revenue streams, such as streaming and subscription services complementing existing formats. Global digital revenues in 2013 totalled US$5.9 billion, with subscription streams revenue more than tripling to US$1.1 billion in the last three years.


  • Market trends. Comprehensive data on global, regional and national music market trends, focusing both on 2013 and recent years.  Six of the top ten markets saw growth in 2013, while in eight of the top 20 music markets digital is now the dominant source of revenue.


  • Emerging markets. Review of key trends in emerging markets, where digital revenues are growing fast alongside the spread of licensed services and the move to mobile.  Latin America is the region with the fastest digital growth in recent years, with revenues up 124% between 2010 and 2013. There are strong growth projections in Africa, analysed in the RIN for the first time.


  • Consumer research. New third party research showing changing consumer behaviour, with data and analysis on how internet users are accessing music from both licensed and unlicensed sources. The RIN features exclusive data from Ipsos MediaCT.


  • China. An in-depth case study on the prospects for the development of a licensed business market in Chinaa market of huge untapped potential long stunted by piracy, where the landscape is changing.


  • Global charts. IFPI compiled three definitive global charts including the Top 50 Global Albums Chart and the Top 10 Global Singles Chart of 2013. In 2014 the charts are changing:  Top Global Singles now incorporates streaming and, for the first time, the new Global Recording Artist Chart, topped by One Direction, honours the most popular artists across physical formats, downloads and streaming.


  • Innovations in digital services. Analysis of the latest developments among the world’s 450+ digital services, focusing in particular on the major international services. This year’s edition includes commentary from global consultancy Deloitte and leading digital service Spotify.


  • Multiple platforms and new frontiers.  Analysis of the key developments as music goes multi-device and multi-platform, and a look at what’s ahead as music players integrate into the cars and homes of the future.


Frances Moore, chief executive of IFPI, says:  “IFPI’s Recording Industry in Numbers once again provides an unrivalled analysis of the global recorded music industry, examining the latest international trends and providing detailed figures from 50 territories worldwide.


“The broad picture that emerges is of an extremely diverse industry.  Most of our major markets have stabilised, digital continues to grow, revenue streams have diversified and we are starting to deliver on the huge potential in emerging markets. Against this, there were sharply declining revenues in Japan, a market which accounts for one-fifth of global revenues and is right at the start of its digital transition.  Yet the difficulties in one market, however large, should not divert us from a broader story of digital opportunity.”


IFPI’s Recording Industry in Numbers is available free to IFPI members and can be purchased by non-members here.

– Ends –

For further information please contact Adrian Strain or Alex Jacob

Tel.  +44 (0)20 7878 7939 / 7940

Notes to editors:

About IFPI

IFPI is the organisation that promotes the interests of the international recording industry worldwide. Its membership comprises some 1,300 major and independent companies in more than 66 countries. It also has affiliated industry national groups in 55 countries. IFPI’s mission is to promote the value of recorded music, safeguard the rights of record producers and expand the commercial uses of recorded music in all markets where its members operate.



Headline data from Recording Industry in Numbers 2014:


  • Overall global recorded music trade revenues declined by 3.9 per cent in 2013.  This was heavily influenced by the 16.7 per cent decline in Japan, a market at the start of its digital transition.  Excluding Japan, global revenues were essentially flat, declining by 0.1 per cent.  Europe saw growth for the first time in 12 years and the market also increased in value in North America and Latin America.


  • The US remains at the head of the top 20 markets table and saw consolidation in 2013; the top six markets in Europe – France, Germany, Italy, Netherlands, Sweden and the UK – all saw growth.  There was strong digital growth in many emerging markets including Argentina (+68.5%), Peru (+148.5%), South Africa (+106.8%) and Venezuela (+84.9%).


  • Revenue from digital channels increased by 4.3 per cent in 2013 and now accounts for 39 per cent of overall industry trade revenues.  Downloads remain the biggest source of digital revenues, accounting for 67 per cent of the digital market in 2013.


  • Revenues from subscription services surged by 51.3 per cent in 2013, passing the US$1 billion mark for the first time.  Global revenues from subscription and advertising-supported streams now account for 27 per cent of digital revenues, up from 14 per cent in 2011.  It is estimated that more than 28 million people worldwide now pay for a music subscription, up from 20 million in 2012 and just eight million in 2010.  Music subscription, which has helped transform Sweden and Norway in recent years, is now having a similar positive impact in Denmark and Netherlands.


  • Global performance rights revenue crossed the US$1 billion threshold in 2013.   This income from broadcasts and public performance  increased by 19.0 per cent in 2013 to hit US$1.1 billion, now accounting for 7 per cent of total record industry revenue.


  • The IFPI Global Recording Artist Chart was topped by One Direction.  The chart captured the popularity of artists across multiple licensed channels, including streams on access services such as YouTube and Spotify as well as ownership services such as download stores and physical sales across 2013.  One Direction also topped the Top 50 Global Albums Chart with Midnight Memories, while the Top 10 Global Singles Chart was topped by Robin Thicke featuring T.I and Pharrell Williams with Blurred Lines.

Digital Music Report  IFPI 2014

Les revenus des abonnements tirent la croissance des principaux marchés de la musique enregistrée

 Pour télécharger le Digital Music Report complet cliquez ici.

–          Les revenus issus des services de musique par abonnement ont augmenté de 51% en 2013, dopant la croissance générale du marché numérique, qui progresse de 4,3%.

–          En Europe, le marché progresse pour la première fois depuis 12 ans, il est stable aux USA et en croissance en Amérique Latine.

–          Le chiffre d’affaires mondial de la musique enregistrée est en baisse de 3,9%, un résultat largement impacté par la chute du marché japonais.

–          Le résultat pour le marché mondial de la musique enregistrée (hors Japon) est de  de +0 ,1%.


Londres, 18 mars 2014

Le développement de la consommation  de musique via les services de streaming et d’abonnement a largement contribué à la croissance des principaux marchés de musique en 2013 avec une hausse des revenus numériques de 4,3% dans le monde, et un retour à des résultats positifs en Europe pour la première fois depuis dix ans.

Le marché américain de la musique enregistrée poursuit sa stabilisation, avec une progression de 0,8% de son chiffre d’affaires et une forte hausse du streaming.

Après 12 ans de baisse, l’Europe a renoué avec la croissance sur ses cinq principaux marchés : France, Allemagne, Italie, Pays-Bas et Grande Bretagne.

L’Amérique latine connait une hausse de 1,4% avec un développement du marché numérique qui permet de compenser la baisse des ventes physiques.

Le Digital Music Report de l’IFPI publié aujourd’hui, montre l’évolution du marché mondial de la musique enregistrée qui offre désormais au consommateur une très large palette d’offres de musique en ligne.

Les revenus issus du streaming et des abonnements ont augmenté de 51,3% dépassant le milliard de dollars.

Malgré cette tendance positive sur de nombreux marchés, le chiffre d’affaires mondial de la musique, soit 15 milliards de dollars, a baissé de 3,9% en 2013.

Un résultat essentiellement dû à l’impact de la chute de 16,7% du marché japonais, qui représente plus d’1/5 du CA mondial.

Le Japon est un marché en transition avec un poids historique de la téléphonie mobile et des ventes physiques qui commencent seulement à décliner, alors que les offres de streaming et d’abonnement sont encore en gestation.

–          En 2013, le marché mondial de la musique enregistrée (hors Japon) est globalement stable en valeur avec un résultat de -0,1%.

–          Frances Moore, Directrice Générale de l’IFPI déclare : « Même en tenant compte de la situation difficile du Japon, l’industrie mondiale de la musique enregistrée est désormais dans une phase positive de développement. le chiffre d’affaires des principaux marchés est revenu à la croissance. Les services de streaming et d’abonnement se développent. Les consommateurs ont un choix de plus en plus large entre les différents services et plateformes disponibles. La musique numérique est clairement entrée dans une nouvelle ère, au moment où les maisons de disques, après avoir donné en licence leurs catalogues à des services dans le monde entier, commencent à présent à développer l’énorme potentiel des marchés émergents. »


–          La percée du streaming et des abonnements

Le marché numérique a continué de se diversifier avec les revenus des services tels Deezer et Spotify, en augmentation de 51,3% et dépassant la barre du Milliard de $ en 2013.

Le chiffre d’affaires mondial du streaming représente maintenant 27% des revenus numériques (14% en 2011).

On estime à plus de 28 Millions dans le monde le nombre de personnes payant désormais pour un abonnement à un service de musique. (20 Millions en 2012 et 8 Millions en 2010).

La musique par abonnement, qui a transformé les marchés  suédois et Norvégien ces dernières années, a maintenant un impact  similaire sur le Danemark et les Pays-Bas.

Les maisons de disques continuent de multiplier leurs accords avec de nouveaux services, dont Beats et iTunes Radio, récemment lancés aux USA. Elles comptent sur une expansion rapide de ces services dans le monde entier.

On compte aujourd’hui environ 450 services de streaming dans le monde, certains internationaux, comme Spotify, qui s’est développé dans 38 territoires en 2013, Deezer, Google Play, et des services régionaux comme Muve (USA) et KKBox (Asie).


–          Le téléchargement et les ventes physiques occupent encore une place majeure dans les ventes de musique.

Les ventes issues du téléchargement à l’acte restent un revenu essentiel, soit 2/3 des revenus numériques (67%). Elles sont à l’origine de la croissance du numérique dans des marchés en développement, comme Hong Kong, les Philippines, la Slovaquie et l’Afrique du Sud.

A l’échelle mondiale, les revenus du téléchargement ont légèrement baissé en valeur (-2,1%), mais ont été compensés par la hausse des revenus du streaming et des abonnements.

Les ventes physiques représentent encore une part substantielle du chiffre d’affaires de la musique enregistrée dans de nombreux marchés clés. Elles réalisent plus de la moitié (51,4%) des revenus de l’industrie, contre 56% en 2012. Malgré cette baisse de 11,8% en 2013,  leur déclin s’est ralenti en Allemagne, en Italie, en Grande-Bretagne et aux USA. Elles ont même connu une légère progression en France (+0,8%).
Si les ventes de vinyles restent marginales dans le chiffre d’affaires de la musique, elles ont néanmoins augmenté de manière significative ces dernières années sur certains grands marchés : + 32% aux USA (Nielsen Soundscan), +101% en Grande-Bretagne (BPI).

–          Croissance des revenus liés aux droits voisins et aux droits de synchronisation

Nette progression des revenus liés aux droits (diffusion radio, webradio, sonorisation des lieux publics) : avec une croissance de +19%, qui a doublé en 2013 par rapport à la progression constatée en 2012, ils dépassent pour la 1ère fois le milliard de $ (1,1Milliard$) dans le chiffre d’affaires mondial des producteurs dont ils représentent désormais 7,3%.

Quant aux revenus issus des droits de synchronisation (publicité, films, programmes audiovisuels), ils ont baissé de – 3,4% en 2013 et représentent 2,1% du chiffre d’affaire total des producteurs.


–          Les marchés émergents

L’un des points clés du rapport publié aujourd’hui est le potentiel considérable des nouveaux marchés, compte tenu des accords de licence passés entre les maisons de disques et les plateformes ces 3 dernières années. De nombreux marchés jusqu’ici secondaires, car dépourvus de réseaux de distribution  physique suffisants, commencent désormais à recueillir des revenus significatifs issus de la distribution numérique de musique. Parmi les pays ayant connu des progressions spectaculaire de leur chiffres d’affaires s : Argentine, (+69%), Pérou (+149%), Afrique du sud (+ 107%), Venezuela (+85%).


–          TOP mondial

L’Ifpi a lancé en janvier dernier un classement mondial « Artistes », qui rend compte de la popularité internationale des artistes en 2013 à travers toute la diversité des canaux de distribution de musique, qu’il s’agisse des services de streaming comme Youtube ou Spotify, de téléchargement à l’acte, ou des ventes physiques.

C’est le groupe britannique One Direction qui remporte la 1° place de ce Top international, tant pour le classement Artistes que pour celui des meilleures ventes Albums : + d’un million d’exemplaires en 5 semaines aux USA, et 1° du Top dans une douzaine de pays, de la Suède à l’Australie.

Rank Artist


One Direction




Justin Timberlake


Bruno Mars


Katy Perry




Macklemore & Ryan lewis




Michael Bublé


Daft Punk


Rank Artist Album


One Direction Midnight Memories


Eminem The Marshall Mathers LP 2


Justin Timberlake The 20/20 Experience


Bruno Mars Unorthodox Jukebox


Daft Punk Random Access Memories


Katy Perry PRISM


Michael Bublé To Be Loved


Imagine Dragons Night Visions





Source IFPI

Rank Artist Single


Robin Thicke Blurred Lines


Macklemore & Ryan Lewis Thrift Shop


Avicii Wake Me Up


Katy Perry Roar


P!nk feat. Nate Ruess Just Give Me a Reason


Daft Punk feat. Pharrell Williams and Nile Rodgers Get Lucky


Imagine Dragons Radioactive


Bruno Mars When I Was Your Man

9 Scream & Shout


Rihanna Stay

Source: IFPI

C’est Robin Thicke qui a décroché la 1° place de TOP international pour les singles avec l’extrait de son 6° album : « Blurred Lines ».


–         Les bons scores des répertoires locaux

L’investissement dans les répertoires locaux reste le nerf de la guerre pour l’industrie de la musique. Les classements de meilleures ventes Albums témoignent de leur très bonne performance dans les ventes mondiales. Sur de nombreux marchés, les artistes locaux trustent la majorité des places dans le TOP 2013 des meilleures ventes d’albums. En France, 17 artistes francophones sont présents dans le TOP 20 (10 en 2011). En Allemagne 7 artistes allemands figurent au TOP 10. Les chiffres de 13 pays non anglophones confirment cette tendance.

  Country % of top 10 albums in 2013 that were domestic repertoire
1 Japan 100%
2 South Korea 100%
3 Brazil 90%
4 Italy 90%
5 Sweden 90%
6 France 80%
7 Denmark 80%
8 Netherlands 80%
9 Germany 70%
10 Norway 60%
11 Spain 60%
12 Portugal 50%
13 Malaysia 50%

Source IFPI


Le succès des nouveaux services de musique en ligne auprès du public se confirme

Les offres de musique numérique constituent une alternative attractive à la piraterie, comme le montre l’étude réalisée pour la seconde année par Ipsos MediaCT, qui couvre 10 territoires sur 4 continents. 62% des internautes de ces marchés ont utilisé un service de musique en ligne au cours des 6 derniers mois. Le taux de satisfaction des utilisateurs est élevé : ¾ des internautes interrogés (76%) trouvent ces offres « excellentes » ou « très bonnes ».


Améliorer et sécuriser l’environnement juridique du commerce en ligne

Le développement et la réussite de l’industrie musicale sont étroitement liés à l’environnement légal  et au respect du droit d’auteur sur Internet, car elle doit encore faire face à la concurrence déloyale des services illégaux.

L’Ifpi estime que 26% des internautes dans le monde utilisent régulièrement des services illicites (étude comScore/Nielsen), mais ce chiffre ne concerne que l’Internet fixe et ne tient pas compte des pratiques qui se développent rapidement à partir des smartphones et tablettes.
La piraterie numérique sous toutes ses formes est une réelle menace qui pèse sur le secteur de la musique enregistrée et sa capacité d’investissement.

Le Digital music Report met en avant les axes autour desquels l’industrie musicale oriente son action anti-piraterie : auprès des fournisseurs d’accès et des moteurs de recherche, à travers les actions judiciaires, l’évolution des législations, la règlementation de la publicité en ligne.


1.      Chiffre d’affaires mondial : 2012 & 2013 (US$ million)

2012 share 2012 value 2013 share 2013 value % value change












Performance Rights

















2.       Evolution 2012/2013 par zones géographiques  ($US millions)

2012 2013 % change
North America








Latin America









3.        Progression des services d’abonnement :  abonnements payants 2010-2013 ($US millions)

2010 2011 2012 2013 12/13 % Change
Subscription streams revenue





 + 51%

Number of Paying Subscribers





+ 40%

En pleine saison des Awards et autres Victoires de la Musique, l’IFPI vient de mettre en ligne une vidéo inédite et originale célébrant un siècle de musique.

Prenant la forme d’un grand domino, le plan séquence filmé dans les fameux studios Abey Road à Londres illustre d’une manière créative et décalé toutes les innovations et créations qui ont fait la musique d’hier et d’aujourd’hui. La bande originale a reçu le même traitement : un « medley » de grands titres que vous reconnaîtrez sûrement créé la trame sonore de cet historique, finissant sur la boucle entêtante de « Get Lucky » des Daft Punk. La vidéo s’achève sur une signature profonde et émouvante : « ce qui reste, c’est la musique ».

Aux manettes de la caméra : Steve Milbourne, directeur créatif chez Sony Music à Londres.