Spotify

by ERIN SINGLETON

HEADQUARTERS

Spotify AB
Birger Jarlsgatan 61, 10tr
113 56 Stockholm
Sweden
556786-5729
(Research & Development)

Spotify Ltd.
4th Floor
25 Argyll Street
London W1F 7TU
United Kingdom
(Main headquarters)

http://www.spotify.com/

KEY EXECUTIVES [1]

ABOUT 

 Spotify is a digital music streaming service that allows users to create personal playlists and radio stations, browse Spotify-curated playlists, and share music with friends. Users can do this through their mobile devices, tablets, or desktop computers. The service currently has more than 30 million songs registered within its system through licenses with major labels and recording artists [2]. Developed in 2006 by entrepreneurs Daniel Ek and Martin Lorentzon in Stockholm, Sweden, Spotify was created as a response to the illegal downloading of music going on by consumers through piracy sites like Napster [3]. In 2008 the service was launched in Scandinavia, France, the U.K. and Spain; in 2011, it made its way to the U.S [3]. There are currently over 60 million users (15 million of which are paying users,) 1.5 billion playlists, and 20,000 songs added per day [2].

MARKET EXPANSION

Spotify is currently available in 58 markets worldwide, including Brazil, Germany, New Zealand, Nicaragua, Taiwan, Italy, and more [2]. In 2013, Spotify expanded to 8 new locations in its steps towards penetrating Latin America and Asia markets, launching in Mexico, Hong Kong, Malaysia, and Singapore [4]. Spotify introduced Canada’s launch in 2014 [5]. Plans to enter Japan are still in the works, and previous plans to enter Russia have been halted due to its unstable economic conditions [6]. As Spotify has continued to expand its availability across the globe, its number of users has greatly increased every year.

 FINANCIALS

Despite industry rumors, Spotify still remains a privately funded company and is not going public anytime soon[7][8]. Spotify is currently close to completing a new round of funding from Goldman Sachs and an Abu Dhabi sovereign wealth funds, raising $400 million and putting its value at $8.4 billion [9]. After the deal, Spotify will be worth double the value of its closest competitor, Pandora Music ($3.85 billion), despite having higher net losses than Pandora and less market share (6% versus 31%, respectively) [10]. The deal will also put Spotify at the top ranks of the highest valued privately funded technology companies, along with Square, Dropbox, and Airbnb [11].

BUSINESS MODEL

There are two tiers for Spotify users: ‘freemium,’ a free, ad-supported streaming format, and ‘premium,’ an ad-free streaming subscription for $9.99/month. The premium subscription comes with other perks, including unlimited song skips, offline mode ability, and on-demand mobile access [12]. Additionally, there is a student tier for $4.99/month and a family plan for $5.99/month. Spotify philosophizes that the freemium option will drive users to eventually pay for the better experience [2]. Through these payment options, Spotify has paid $2 billion USD to the music industry, $1 billion of which coming from 2014 alone [2]. 70% of revenues earned are paid out to rights holders in the industry, while Spotify holds onto the remaining 30% [2]. Spotify does not pay ‘per stream,’ but rather through royalty statements that are dependent on the country the artist is being streamed, the number of paid users, the country’s currency value, and the artist’s royalty rate. As a result, ‘per stream’ payouts are typically between $0.006 and $0.0084 [2].

ARTIST BACKLASH

do-no-reuse-taylor-swift-the-beat-bb36-sarah-barlow-billboard-650

Taylor Swift pulled her catalogue off Spotify this fall 2014. Image courtesy of Billboard

With the trending drop of physical sales and digital downloads, there has been heavy debate circulating the music industry involving streaming companies’ payouts. More specifically, there has been criticism from recording artists and songwriters who feel that their ‘art’ is being undervalued and deserves fairer compensation from streaming services. Just this past fall, Taylor Swift pulled her entire catalog off of Spotify in defense of songwriters, saying that she is “not willing to contribute [her] life’s work to an experiment that [she doesn’t] feel fairly compensates the writers, producers, artists, and creators of this music” [13]. Other artists who have called out against the streaming service include Jason Aldean, Radiohead’s Thom Yorke, Talking Heads’ David Byrne, and others [14]. In response, Ek argues that record labels are to blame since they are the owners of the music and thus the ones distributing it to their artists under their own respective terms [14].

The biggest artist-led backlash against Spotify is the creation of competitive streaming service Tidal, an artist-owned global music and entertainment platform ran by Jay Z, Beyoncé, Deadmau5, Madonna, and other music superstars [15]. To counter artist tensions, Spotify recently rolled out a new feature called Tweet the Beat, which allows users to express their gratitude towards their favorite artists through an interface pop-up asking them to thank the artist via a pre-written tweet [16]. Rihanna is the only artist users have been asked to thank. This experimental feature has been negatively received by Spotify users, who view it as a spam [15]. A Spotify spokesperson says that, “[They’re] always testing new things on our different platforms and to various user groups,” most likely to stick out amongst the competition [15]. However, Tweet the Beat has been rolled back as a result of such critical opinions.

RECENT NEWS

These past few years have been busy ones for Spotify as the company proactively works towards staying ahead of the concentrated streaming market. In January of 2015, Spotify introduced Touch Preview, a “better way to preview any song, album, artist, or playlist” [17]. This feature allows users to gain a “sneak peak” to a song or playlist by holding down a finger to the screen to preview the song instantaneously. If the user likes what they hear, they can save the song with one simple swipe.

In February of 2015, Spotify introduced an update for desktop users, presenting fully integrated lyrics, powered by Musixmatch, as well as an explore option to search popular lyrics from Spotify’s top songs [18]. The desktop update also included easier access to Friend Feed, which allows users to discover what their friends are currently listening to, as well as a revamping of daily viral charts.

 

In March of 2015, Spotify’s PlayStation Music was launched in partnership with Sony Network Entertainment International LLC, making it “easier than ever for gamers to enjoy their favorite tracks whilst playing their favorite games” [19]. Users are able to create their own on-demand soundtracks to their games without interruption to the gaming experience. Just this April 2015, Spotify launched Spotify for Brands, a platform that reveals audience statistics and insights to benefit brands in their endeavor to connect with the younger generations [20].

OVERVIEW

Since its 2006 development and 2008 initial launch, Spotify has demonstrated significant exponential growth over the past 7 years with no sign of slowing down anytime soon. Leading the pack in the digital streaming market, the service is tirelessly working towards providing unique innovations and opportunities for its consumers that one can only expect to continue in the many years to come.

SOURCES

[1] Spotify Biographies, Spotify Press.

[2] Spotify Artists, Spotify Explained.

[3] Forbes, Spotify’s Daniel Ek: The Most Important Man In Music

[4] Chicago Tribune, Spotify Expanding into Asia, Latin America

[5] Spotify Press, Spotify is Live in Canada!

[6] Business Insider, Spotify has cancelled its launch in Russia

[7] Yahoo! Finance, Spotify seeks to hire U.S. filings expert as bankers eye IPO

[8] Yahoo! Finance, Spotify isn’t going public anytime soon

[9] Yahoo! Finance, Spotify Nears New Funding at Valuation of $8.4 Billion

[10] Market Realist, Why Is Spotify’s Valuation More than Double Pandora’s?

[11] Wall Street Journal, The Billion Dollar Startup Club

[12] Pocket-Lint, Spotify free vs Spotify premium: What’s the difference?

[13] Rolling Stone, Taylor Swift’s Label Head Explains Spotify Removal

[14] Rolling Stone, Spotify Founder Fires Back at Taylor Swift

[15] The Telegraph, Stars lead backlist against Spotify with their own music streaming site Tidal

[16] Digital Trends, Spotify Rolls Back ‘Tweet the Beat’ for Rihanna After Back Lash

[17] Spotify Press, Introducing Touch Preview: a better way to preview any song, album, artist, or playlist

[18] Spotify Press, Introducing our latest update for Spotify on desktop

[19] Spotify Press, Soundtrack your game with Spotify on PlayStation Music

[20] Spotify Press, Spotify launches playlist targeting for brands

IAC

by Jacob Pirogovsky

IAC

IAC began in 1986 and was originally called the Silver King Broadcasting Company and was owned by the Home Shopping Network. Later in 1992, it became its own publicly traded company. The company went through a series of name changes from USA Networks, Inc. to USA Interactive, before finally changing it to IAC/InterActiveCorp in July of 2004. Since that time IAC/InterActiveCrop has been acquiring a variety of companies in a very wide array of different fields. They divide their holdings into four main groups: Search and Applications, The Match Group, Media, and eCommerce. Each of these groups has a plethora of companies, as seen in the image below, all of which influence the decisions and finances of InterActiveCorp as a whole.

IAC Segment Flowchart

All 4 segments broken up, with revenue information. SOURCE: Berkeley Investment Group

This period* has seen a lot of changes for IAC, as well as its subsidiaries. One major one was that Bonnie Hammer, the chairman for NBCUniversal Cable was appointed to the board of IAC in September by IAC’s CEO Barry Diller, who says “She’s a superb businesswoman, programmer and brand builder.” With her expertise in the television industry, she will be able to give the company insight into growing audiences and as a very influential social activist she will be able to attract some positive press for IAC, especially in light of the drama surrounding Tinder’s executives.

In early September a court case was settled between one of Tinder’s co-founders, Justin Mateen, and an early employee, Whitney Wolfe, who accused Mateen of sexual harassment. IAC reached a settlement with Wolfe so that it wouldn’t go to trial, but

Rad and Mateen (IAC)

2 of Tinder’s Co-Founder’s – Sean Rad (left) and Justin Mateen (right). SOURCE: Forbes

everything was deemed confidential so much of what happened is unknown to the public. Mateen left the company after being suspended in July. Now, in November Tinder’s co-founder and CEO Sean Rad has been forced to step down by IAC. The news came to him while he was at the Forbes 30 Under 30 Summit in October, where he was about to announce that Tinder was going to monetize. Both of these things have big implications for Tinder and IAC. The app has grown 600% in the last year and has 30 million users who collectively check out 1.2 billion other users. With the new premium model, revenue predictions for 2015 are about $150 million. Rad, who will remain on the board of Tinder, is working with Matt Cohler, a partner at Benchmark and a newcomer to the Tinder board, to find a new CEO for the company.

Rad speaks about Summit

SOURCE: Forbes

In terms of other finances, IAC released a third quarter earnings report for 2014 at the end of October. According to Yahoo! Finance, the company earned about $30 million more than analysts had predicted for this quarter. Overall, it has had 3% growth in the last year. In The Match Group, revenue increased by 12% and in the eCommerce segment, HomeAdvisor’s revenue grew 20%, with an overall growth of 14% in the segment. In the third quarter Search & Applications decreased 3% in the last year. Meanwhile, in the Media segment of IAC, Vimeo revenue increased by 30% and now has more than 530,000 subscribers; however, overall the Media revenue went down 1% in the last year.

IAC Stock Chart (1 year)

IAC’s stock over the past year on the NASDAQ. SOURCE: Bloomberg Markets

Very recently in early November, Mindspark (an IAC subsidiary) acquired Apalon, a company that develops applications for Apple and Google Play, and whose apps have had more than 100 million downloads in the past year. “The combination of Apalon’s world-class mobile app development skills with Mindspark’s proven ability to distribute digital applications at scale is a huge differentiator and strategic advantage in the marketplace,” said Eric Esterlis, co-president of Mindspark. The two companies will complement each other and will help fight the decrease in revenue in the Search and Application segment of IAC.

About.com redesign

SOURCE: About.com

Another revenue booster for that segment is the redesign of About.com’s website. The site hadn’t been redesigned since 2007, so the re-launch of the site in September has had some profound effects on users. On average they stayed on the site 24% longer and viewed 18% more articles than before the redesign. Additionally, the previous design was built to come up higher in Google searches to increase cost-per-click ad revenue; however, because Google’s algorithm is always changing and to decrease dependency on this type of ad, the site is now making more deals with advertisers to sponsor different sections of the site.

In the eCommerce segment, the EVP and CFO of Shoebuy.com, John Foristall was selected as an honoree “40 Under 40” award, which is given out annually by the Boston Business Journal to people who have made a major impact in their field. In addition, the company partnered with Rodgers and Hamerstein’s Cinderella to launch a limited collection of special occasion footwear inspired by the show. The cooperation helped increase the overall revenue of the segment.

In the media segment, Aereo, an online streaming service that offered live and recorded programs, filed for bankruptcy protection in November, after losing a major court case. The company was said to have violated programming copyright protections, according to a Supreme Court decision. The startup was beginning to revolutionize broadcast TV viewing, and even though it ended up failing, it will most likely lead to future attempts of a similar service.

Aereo news chat

SOURCE: Bloomberg WEST

Up until the past few years, Vimeo, another one of IAC’s media holdings, was having a hard time figuring out how to monetize, other than through subscription users. Now through Vimeo On Demand, their on demand platform, they have an additional revenue stream. In October, they made deals with two big YouTube producers, Phil DeFranco and the Orchard online network, which put their content onto Vimeo as well. Additionally, Vimeo just had their first original series, “High Maintenance,” premiere in November. According to Indiewire, the show is the future for web series and indie television. The series directors were in ongoing talks with FX to bring the show to cable, but ended up cancelling because they didn’t want to lose creative control. In light of that they made a deal with Vimeo for the financing. As Vimeo caters more towards industry professionals, the high production value show has found the perfect home and will bring more revenue to the site. Even though the show has always been on Vimeo, they are now promoting it; and they have given the series it’s own channel and have begun charging 1.99 per episode. This doesn’t seem to be a deterrent because according to Vimeo CEO Kerry Trainor, “High Maintenance” made more money in the first two days after it released and charged for episodes than it would have made with YouTube ad sales over the past two years.

Stevie - High Maintenance Video

High Maintenance // Stevie from Janky Clown Productions on Vimeo.

Overall, IAC/InterActiveCorp has had a very busy semester with lots of acquisitions and new deals being made to stay up to date in today’s ever changing fast-paced media driven world. As the year comes to an end, Ask.com recently released the top searches of 2014, marking a comeback in the struggling site. Looking ahead, in all four sectors of the company, IAC plans to maintain and increase its status as the 13th largest network in the world.

 

*a period from August 25th – December 1st 2014

KEY EXECUTIVES:
Barry Diller – Chairman & Senior Executive
Victor Kaufman – Vice Chairman
Jeff Kip – Executive VP & CFO
Greg Blatt – Chairman, The Match Group

Address:
555 West 18th Street
New York, NY 10011
Phone: 1-212-314-7300
Company URL: iac.com

Sources:

Forbes.com: Tinder harassment settlement, Tinder monetizing/new CEO
Variety.com: Bonnie Hammer story
Tvbythenumbers: Hammer’s social activism information
IAC.com: Q3 report, Brand homepages, executives, Press Releases
Yahoo! Finance: IAC financial information
Bloomberg.com: Aereo story, Vimeo’s new content
IndieWire.com: High Maintenance information
The Hollywood Reporter.com: Vimeo On Demand information
Fastcompany.com: About.com redesign

Images/Video:

-Forbes.com: Tinder Co-FoundersSean Rad Interview
-Bloomberg.com: Aereo Interview, IAC Stock Chart
-Berkeley Investment Group: IAC breakdown chart
-About.com: Website redesign
-Vimeo.com: High Maintenance episode