The BPI today publishes its latest yearbook: “All About The Music 2019”
WHAT THE UK STREAMED IN 2018
OFFICIAL PRESS RELEASE
NEWS PROVIDED BY
Bohemian Rhapsody becomes the most popular track from 1970s; The Killers' Mr Brightside remains the biggest track released in the noughties
Tracks released before 2017 accounted for over half of all streams in 2018
More than 500 tracks from this pre-2017 period were streamed over 10m times
Mariah Carey ‘All I Want for Christmas’ in the top 100 streamed tracks of 2018
The BPI’s annual yearbook All About the Music is published today and gives a detailed insight into the year in UK recorded music in 2018 through facts, figures and analysis.
Compiled by Rob Crutchley and edited by Chris Green, and featuring an introduction by BPI CEO Geoff Taylor, this authorative BPI industry book fully evaluates music consumption and trends, with chapters covering sales, market breakdowns, consumer behaviour, retailing and how British music is performing in the world market, along with many other insights.
Geoff Taylor, Chief Executive BPI & BRIT Awards, said:
“In an age where entertainment consumption is increasingly fragmented, and with ever-fiercer competition in the attention economy, music demonstrates time and again that it has the power and appeal to cut through and engage people’s passions.
“Streaming offers more dazzling choice of music than ever for audiences, but every now and then a body of work will strongly resonate with fans. Adele’s 25 and Ed Sheeran’s Divide are two recent examples – albums that captured the public’s imagination, combining relatability with classic song craft. In 2018 another set of songs can be added to that pantheon – the soundtrack of The Greatest Showman. Its dominance of the UK charts was remarkable: 24 (non-consecutive) weeks at number one, eight tracks from it featuring in the year-end top 100 singles chart and over 1.6m copies sold. Both The Greatest Showman and A Star Is Born showed that music and film can combine to powerful effect, but the success of Mamma Mia! Here We Go Again and Bohemian Rhapsody reminds us that older songs too can have a broad, pan-generational appeal.
“Some commentators express concern for classic music in the age of streaming, but what 2018 has perhaps taught us is that context is key in its discovery – create imaginative situations in which to experience great music, and people will respond. This also applies to contemporary musicians: from Marshmello playing a set in Fortnite to the new wave of podcasts that lend fresh perspectives to both songs and artists, performers are finding different ways to connect with new audiences.”
“The recorded music industry in the UK is showing consistent growth, driven by investment in new talent, innovative global marketing, and offering music fans outstanding choice, convenience and value. The outlook for the future remains positive, but there is still a long way to go to recapture lost ground. Long-term growth depends on robust Government action to tackle the Value Gap, promote investment, ensure online platforms take responsible action to reduce infringement, and secure the future talent pipeline by giving state school pupils the opportunity to discover and develop their talent.”
April 13, 2019 4:34am ET by BPI