Collecting societies body CISAC has published its annual Global Collections Report this morning, revealing the latest figures and trends from its member bodies. Those societies collect for more than just music, so from Music Ally’s perspective we’re going to dig into the music figures only.
Global music collections from CISAC’s society members grew by 7.2% in 2021 to €8.48bn ($8.53bn). It’s a post-lockdowns bounceback from the 11.5% decline in music collections in 2020. However, as CISAC noted in its reports, collections are still below the €8.94bn in 2019, the last full pre-Covid year.
Live and public performance income for songwriters and publishers is still hurting. After a sharp drop from €2.72bn in 2019 to €1.49bn in 2020, they remained flat at €1.49bn in 2021. The good news is that digital collections continue to grow well: up 27.5% to €3.06bn last year.
Digital now accounts for 36.1% of global music collections by CISAC’s members, up from 15.4% in 2017. And digital is the majority share in countries like Indonesia (98.2%), India (82.1%) and Mexico (68.5%).
In his foreward to the report, president Björn Ulvaeus delivered a warning that digital “is still unfinished business when it comes to ensuring a fair environment to earn a living”. While he acknowledged signs of progress in the debates over the streaming economy and transparency, he called for faster and more widespread collaboration to “fix the problem” of bad metadata.
CISAC’s is not the only collections-related report to be published this week. SCAPR, the body representing societies collecting performers’ rights, also has its annual report.
Its members’ collections were up by 3% to €800m ($806.1m) in 2021, although like those of CISAC’s societies, these collections are still down on 2019’s total (€848.2m in SCAPR’s case).
Private copying levies, public performance and broadcasting remain the biggest sources of collections for SCAPR’s members, but digital (or ‘making available on demand’ to be specific) collections grew by 25% to €48.8m last year.
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