WASHINGTON -- Today, music lovers have more ways than ever before to
access their favorite songs and discover artists they've never heard of.
Can't live another minute without "Call Me Maybe"? Download it on iTunes
for just $1.29, or stream it over your smartphone with Spotify. Want to
hear something different? Let Pandora Internet radio pick something for
you, or turn to Grooveshark, a sonic Facebook, to see what other music
nerds are listening to. The digital revolution that Napster heralded at
the turn of the millenium finally seems to be bearing fruit.
At the time, record labels decried the file-sharing program as an
existential threat to the industry. To protect record sales, they sued
everyone from tech startups to children, and lobbied Congress for new
laws to curb piracy. Now, though, digital music services have gone
mainstream, promising listeners a world of perfectly legal possibilities
and an end to the major labels' vice grip. If only it were so. Far from
becoming obsolete, the four largest record labels -- Universal, Sony,
Warner Music Group and EMI -- now control almost 90 percent of the music
market. And if the Federal Trade Commission signs off this week on
Universal Music's controversial $2 billion takeover of EMI, the new
behemoth would control over 40 percent of the market alone -- enough to
make the company the gatekeeper for all sonic innovation, from Silicon
Valley to Sweden.
Artists are also worried about the merger's consequences. "It's all
totally stacked against the creator," said Casey Rae-Hunter, who heads
the Future of Music Coalition, an organization representing independent
and unsigned musicians. "And the Universal-EMI merger gives them even
more leverage to do really scary things." The American Antitrust
Institute warned last month that the merger would lead to both
"diminished consumer choice" and "diminished innovation," and urged the
FTC to block the deal. The European Union is expected to thwart some of
the merger's effects abroad, forcing EMI to sell off 60 percent of its
European catalog before it gives a green light to the merger. A
Universal spokesman defended the deal, telling The Huffington Post that
opposition to the merger is "based on a lot of hypothetical assumptions
and misconceptions that are not grounded in the realities of the music
business today." Sony and EMI declined to comment for this article.
Warner Music also declined to comment, but in a recent Senate hearing,
the company criticized the Universal-EMI merger as bad for big labels
and independent artists alike, and claimed it was open to digital
services, noting that it was the first record label to embrace iTunes.
Meanwhile, digital music companies are struggling to stay afloat.
Over the past decade, major labels have used their market power to
extract wildly expensive licensing agreements from new digital services
-- pricey enough to render almost all of them unprofitable. Pandora lost
over $16 million last year, while Spotify lost more than $55 million.
Big labels have bludgeoned less fortunate startups out of existence with
lawsuits. If the FTC approves the Universal-EMI merger, Grooveshark
could be the next casualty. Today, the same giant record labels that
attempted to outlaw both the portable MP3 player and the CD burner
during the 1990s now have a stranglehold on digital innovation, and they
remain nearly as hostile to new services as they were to Napster. "This
was supposed to look a lot different," said Rae-Hunter, who also runs
the tiny, independent record label Lux Eterna and records as The
Contrarian. "We were supposed to not just solve the access problem about
reaching new audiences, but also to monetize that activity in a way in
which 99 percent of that activity was not captured by the major labels,"
Rae-Hunter said. "But we see now that the majors still dictate the
terms."
'NAPSTER HAS CHANGED EVERYTHING'
A decade ago, even at the height of the war against Napster, the writing
appeared to be on the wall for the major labels. In the spring of 2001,
Eagles singer Don Henley traveled to Washington to cheer on the digital
revolution. To Henley and many other artists, the nation's largest
labels were little better than loan sharks. At worst, they were career
saboteurs. "A typical artist could sell a half-million records and not
see one dollar in royalties," Henley told the Senate Judiciary
Committee, which was debating a congressional response to Napster. "It
is as though you have paid off your mortgage and the bank still owns
your house." Nor were the major labels especially kind to their
customers. A year before Henley's testimony, they settled with the FTC
for colluding to raise CD prices, a practice that had generated $480
million for the labels over three years. "Napster has changed
everything," Henley said. By failing to establish a sustainable,
standardized system for licensing digital music, "the record industry
fiddled on the sidelines while the digital revolution went on without
them."
In the years since Henley's testimony, the music market has changed
dramatically. According to data from the Recording Industry Association
of America, a trade group representing major labels, U.S. sales revenue
peaked at $14.8 billion in 1999 (one of the years in which the FTC
accused the labels of colluding to raise CD prices). That annual figure
is now closer to $7 billion, a decline fueled by lower prices online,
piracy and a sluggish economy. But last year, the industry's slide
finally stopped. Sales revenue actually grew, while the total number of
purchases reached an all-time high. A little over half of all music
sales today are digital, not physical. One service above all others has
been responsible for creating a viable commercial market for music
online: iTunes.
Since opening its music store in 2003, Apple has become the largest
music vendor in the U.S. By 2009, it was responsible for 25 percent of
all U.S. music sales, physical or digital. Labels take 70 percent of the
retail sales from iTunes -- a bigger cut than they take from traditional
record stores. And by offering listeners a legal service that is as
convenient as Napster was, and where songs cost as little as 99 cents,
iTunes radically diminished the appeal of illegal downloading. When
Apple CEO Steve Jobs prepared to launch iTunes, he did what every
digital music startup has done since: negotiate licenses with the big
labels. Traditionally, whenever a record is purchased in a store or a
song is played on the radio, songwriters and publishing companies
receive a small portion of the proceeds. These royalties are set by
Congress, which limits the amount that big publishing companies can
demand from radio, while at the same time securing a stream of income
for songwriters. Radio stations have never had an obligation to pay
royalties to performers or record companies, however. For the most part,
radio has served as a free advertising platform for the labels.
On the Internet, by contrast, a new service must obtain a license from
whoever owns a recording. There are no statutory royalty standards for
recorded music in the digital universe, giving record companies the
ability to demand any form or amount of payment they want from a new
tech startup. Without buy-in from the major record companies, any new
platform is limited to a tiny fraction of the music universe -- a
situation that isn't very attractive to most listeners or to venture
capitalists looking for a return on their investments. Apple needed the
majors to get iTunes moving, and Jobs sought a licensing deal with one
label that could serve as a template for the others. He eventually got
Warner on board, then Universal and EMI. But as Walter Isaacson detailed
in his biography of Jobs, Sony Music dragged its feet. From Sony’s
perspective, iTunes wasn't just Apple's play for the digital music
software market, it was a major bid for the hardware market, too, which
would dramatically increase the appeal of Apple's iPod and threaten Sony
products like the Walkman.
"The holdout was Sony, in part because Sony
had Sony Electronics, thought Walkman should be the heir to the digital
future, and didn't want to license to a competitor," Michael Nash,
former head of digital music for Warner Music, told HuffPost. Sony
eventually decided to get on the iTunes train, however, rather than risk
being left at the station. "After Jobs had other labels on board, Sony
thought it would make them look bad, that they would lose out not being
part of the launch," Nash said. "And [they] knew there was a credible
threat that iTunes could launch without Sony, that they'd get left
behind." No single company could hijack the entire process if others
wanted to play ball. According to Paul Vidich, a former Warner Music
executive who closed the iTunes deal, the pending merger between
Universal and EMI could put an end to that state of affairs. "Without a
UMG-EMI license, they won't have a business," said Vidich, referring to
new digital startups.
"Within the new UMG-EMI there will be only a handful of senior
executives who make these key licensing decisions. So this small group
will become the gatekeepers for music startups that require these
licenses. The psychology, pay packages and strategic interests of these
executives will have an outsized impact on diversity and innovation in
the entire online music industry." A post-merger Universal could convert
the current oligopoly effectively into an monopoly, with a single
company
determining the commercial viability of all innovation in the digital
music space. "When you get to a position where you have a 40 percent
market share, you can dictate the terms of new services, and that can be
quite harmful to innovation," said Martin Mills, founder of Beggars
Group, which co-owns some of the biggest independent labels in the
world, including XL and Matador Records. Not that tech companies are
necessarily angels, either.
Apple's dominance of
the music downloading sphere has led to separate antitrust inquiries
from the Department of Justice, with some record labels complaining
about Apple punishing them for marketing arrangements with Amazon, the
second-biggest online music retailer. And many music industry executives
have long blamed Apple's low prices and popularization of individual
song purchases for the decline in more lucrative sales of full albums.
Apple and Amazon did not respond to requests to comment. "Whether there
was any intelligent way to resist [the digital revolution] is an open
question to me. It's not like the newspaper and magazine business have
done it any better," said Danny Goldberg, former CEO of both Mercury
Records and Warner Brothers Records, who now manages artists including
Tom Morrello. "I don't think the music business is as venal as, say,
Wall Street," Goldberg said. "I also don't think that tech companies and
computer companies are populated by saints who only care about freedom."
STICKING IT TO STARTUPS AND ARTISTS ALIKE
The iTunes talks demonstrated
that a multibillion-dollar corporation running its own sophisticated
legal and lobbying operations could take on the major labels and win.
Silicon Valley entrepreneurs armed with a few million dollars in venture
capital generally don't fare so well. Neither do artists, especially
independent ones with even fewer resources at their disposal. In January
of 1999, Rob Reid started Listen.com, with the goal of becoming the
dominant online music source. But none of the major labels would license
to him. For three years he held out, developing music databases to sell
to search engines and licensing symphonies from Europe to give the
business something to show investors.
Finally, in the summer of 2002,
the labels cut a deal. At the time, the Department of Justice was
investigating the labels for potential antitrust violations, and labels
felt enormous pressure to sign deals with independent providers. DOJ
eventually dropped its inquiry, but Reid said that two separate major
record labels sent his team contracts with identical typographical
errors. Rather than attempt to take on Apple and Amazon in the market
for music sales, most digital music startups tend to tackle online
streaming.
Listen.com became the streaming service Rhapsody and was sold
to RealNetworks and Viacom in 2003. Digital licensing agreements for
streaming services today still follow the same general terms of the
deals that Reid signed, he said. First, labels demand a large upfront
cash advance, which is recouped through a complex royalty scheme. If the
royalties never equal the advance, the labels still keep their original
payment. Labels then get to calculate their royalties in one of two
ways, whichever is more lucrative. They can take a small amount every
time one of their songs is streamed -- frequently about a penny per play
-- or just take a set percentage of the service's total revenues.
Typically, Reid said, the upfront advance is so high that the royalty
regime is mostly academic: Digital platforms rarely generate enough
money to send labels a check beyond the original advance. But if they
do, he said, services routinely send half or more of their total income
to the major labels. That's an enormous amount of revenue for a startup
to cede, and far more than FM radio, which pays the record labels
absolutely nothing.
Major labels control so much of the world's music
catalog, however, that new providers have to ink deals with them before
turning to independent labels or unsigned artists. The bigger the label,
the bigger the cut of the service's revenue they can demand -- and the
worse the eventual deal for independent artists. "For a subscription
service, there is a collective pot of money that can be divided up among
record companies based on their market share," said Beggars Group's
Mills. "If Universal's market share is 40 percent, they automatically
come in and ask for 55 or 60 percent of that pie. By the time these
services get around to talking to small labels, the pie's gone. And
that, I think, is harmful to artists and to the market." Indeed, while
streaming services pay out millions to major labels, independent and
unsigned artists are left with just fractions of a penny per play.
"I hate Grooveshark and Spotify," said Rebecca Gates, former lead
singer of the band The Spinanes, which had been signed to the
independent record label Sub Pop. Gates now releases her own music. "I
own two of my records, and if they are on Grooveshark or Spotify, it is
without my approval." Gates received strong reviews for her latest
record and has been experimenting with selling digital versions
directly to her fans. So far, operating outside the digital licensing
world remains an uncertain experiment, but she's been able to finance a
European tour with the proceeds, which is more than most independent
artists can claim for streaming proceeds.
Labels now often
demand equity in the new digital services as part of a licensing deal
-- a situation analogous to the labels owning stock in brick-and-mortar
record stores. All four major labels are currently shareholders in
Spotify, for example. When some of your biggest shareholders are major
labels, your company may be in a good position to fend off competitors.
But it also becomes very difficult to criticize the labels or negotiate
a better deal down the line. Spotify and Grooveshark did not respond to
requests for comment. But Napster co-founder Sean Parker, who now sits
on Spotify's board, has publicly praised the merger between Universal
and EMI. "They're all two-year deals, and the labels have full
visibility into the financials, as shareholders and from royalty
statements," noted Reid. "So if a service is getting any kind of profit
margin, the labels are going to come right back and negotiate a new
contract that eats that margin. It seems impossible for these services
to generate any kind of sustainable profitability."
Record labels would likely be unable to make such
extreme licensing demands if the music market were more diverse,
however. If the world's music catalog were more evenly distributed among
more record companies, for example, new services could launch more
easily, without the approval of a few big labels.
'SEVERE HARM TO
COMPETITION AND CONSUMERS'
Like other startups before it, Grooveshark,
which launched in 2007, has been seeking licensing deals with record
labels of all sizes. In 2009, the company inked its first (and so far,
only) agreement with a major label EMI. But Universal has never been
keen on Grooveshark. Instead of cutting a deal, Universal has accused
the new service of copyright infringement and repeatedly sued, most
recently in late 2011 for $17 billion -- roughly 850 percent of what
they agreed to pay for all of EMI, and more than double the annual sales
revenue of the entire U.S. recording industry. In January of this year,
two months after agreeing to the Universal merger, EMI changed its tune,
claiming that Grooveshark had missed a $100,000 payment on its licensing
arrangement, and terminated the contract. EMI then sued the startup for
copyright infringement as well. Grooveshark, which declined to comment
for this story, noted at the time that it had paid EMI $2.6 million to
date under the licensing arrangement. After settling the intial lawsuit,
EMI has filed new infringement cases against Grooveshark, and the two
companies remain embroiled in litigation. Grooveshark is still
functioning, but its days may well be numbered. And its current
situation may be a harbinger of what's to come if the FTC approves
Universal's acquisition of EMI. "
In simple terms, the post-merger firm
would have a strong incentive and increased ability to exercise market
power to undermine, delay and distort new digital distribution business
models, in a market that has been a tight oligopoly for over a decade,"
said Mark Cooper, director of research for the Consumer Federation of
America. "The FTC must take steps to prevent this severe harm to
competition and consumers." And just as Don Henley pointed out to
Congress in 2001, for musicians looking to make money in the digital
age, the best hope remains new music services. The existing regimes are
simply not profitable for artists. Only a tiny fraction of the money
that labels extract from digital providers ever makes its way into
musicians' pockets. As The Root detailed in 2010, the average artists
sees just $23.40 for every $1,000 in music sold. The convenience of
downloading and listening to music online isn't going away. You'll still
be able to download "Call Me Maybe" -- or whatever the next big
major-label smash may be -- with a single click. But while services like
iTunes and Spotify have changed the music market, the next generation of
innovation, along with the ability to obtain more obscure music tailored
to your tastes, remains jeopardized by major label dominance of the
digital sphere.