Data showing that the era of streaming services increases the ratio of catalog music. A change that is altering the structure of the music business.

● BPI study reveals the strength of catalog songs in streaming

The British Phonographic Industry (BPI) has released the results of its analysis of data regarding music streaming in 2019.
Of all streaming plays, songs from 2019 accounted for 21.1%, while songs released in 2018 accounted for 18.6%. In other words, a large proportion of streaming in the UK in 2019 consisted of songs released before 2018 (60.3%). Incidentally, the survey is based on an analysis of the 15,000 most-played songs in 2019 that received over 1 million streams.
The share of songs defined as "catalog" by the BPI increased from 56.5% in 2018 to 60.3% in 2019. The association also points out that the top of the streaming charts is dominated by the latest songs. Only three songs released before 2018 made it into the top 50 in 2019.
The report also mentions that TikTok has contributed to the surge in plays for some catalog songs. Examples cited include Lizzo's "Truth Hurts," released in 2017, and Mariah Carey's "Obsessed," released in 2009.

The data I wanted to know has finally appeared. This is a quote from the MusicAlly Japan newsletter. It is moving in the direction I expected. The fact that "songs released before 2018 accounted for 60.3%" is a very significant change. In the West, the definition of catalog music is often set at three years or older, so it was difficult to get data, but it is indeed looking like this. One of the notable changes since streaming services became the mainstream of music experience is the change in the "new vs. old music ratio." In the era of physical media, 90% of sales were new releases (within one year of release). That is why record companies desperately released "compilation albums" and "greatest hits" albums. These have been replaced by playlists that anyone can create, but 60% for catalog music is close to what I personally felt.
This will change the ecosystem of the music business in the long term and structurally. While it can be said that "if you create a masterpiece and gain support, you will earn revenue in the long term," there is also the aspect that "it will take longer to recover from new investments." In any case, there is no doubt that the era when record companies could generate sales by releasing new music, including greatest hits albums, has come to an end. At the MusicTechRadar event I hosted the other day, attorney Yamazaki strongly stated that "the importance of engagement with users is increasing in the future music business." This was news that confirmed a major change in the music business.

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