1. UK Live Music Industry
September 2011

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3. Contents
Contents...
1. Music Business
2. Who Attends Concerts
3. Media Consumption
4. Social Media
5. Discovery
6. Insiders View
7. Ticketing
8. Platforms

4. Music Business

5. Power Shift
“For years record companies have had it
all their own way but that’s changing and
we have to change with it”
Ged Doherty, Head of Sony BMG
“Now it’s a more balanced business where
you have records, TV shows, merchandise,
touring revenues and so on”
Jean-Bernard Levy, CEO of Vivendi (parent company of Universal Music
Group)

6. Commoditisation
The average hard drive contains over
8,000 tracks
(approximately 17 days worth of music)
95% of music downloads are illegal
35-40% would rather put up with free, ad-
interrupted streaming services than pay
for ad-free
Top 100 selling albums in 90’s accounted
for 30% of sales, today its closer to 5%
Sources: IFPI, Digital Music Report, Mintel Digital Trends Report, Wired

7. Live Explosion
46 million visits to music concerts in
2010, up by 29.2% since 2005
82% increase in number of gigs
35% increase in attendance
59% are more excited about seeing a
band live than listening to albums
70% attend for the atmosphere as much
as the music
“We talk more about music experiences
rather than music itself”
David, 24
Sources: TGI, Mintel Music Concerts & Festivals, EMR, Digital Music Survey,
Carling Music Survey

8. Festival Fever
59% of people attended a festival in last 3
years
700+ festivals in 2010
28% of festival are held in July
21% of these are located in the South West.
Increase in size of festivals:
Bestival - 55k up from 10k in 2004
Glastonbury - 180k up from 100k in 2000
More than half of Benicassim tickets sold
to Brits
Sources: Mintel Music Concerts & Festivals, Your Music Entertainment, BBC

9. Burst Bubble?
Top 100 US tours were down 17% to
$965.5 million, lowest since 2005.
Shows (and in some cases, whole tours)
have been cancelled by acts such as
Christina Aguilera, The Eagles and Limp
Bizkit
Live Nation has discounted more than
700 shows by up to 25%.
The average cost of a ticket for a music
concert at NAA venues in 2009 was
£44.59, an increase of 11.9% on 2008.
Sources: Pollstar, Mintel Music Concerts & Festivals, National Arenas
Association, PRS: Adding Up The UK Music Industry

10. Summary
Power shift from organisations to the consumer
People are increasingly discerning and adventurous
Atmosphere is the one thing you can’t replicate for free but it is a very
crowded market place
Fans are looking beyond UK, possible new revenue streams and potential
partnerships outside of music e.g. airline tickets
A perfect storm of reliance on live revenues, increased ticket prices and
recession may be about to burst the live music industry
Possible messaging opportunity, facilitating fans attending concerts even
when money is tight

11. Who Attends Concerts?

12. Youth Audience
60% of 16-24 year olds would rather go
without sex than music for a week.
48% of 15-24 year olds have been to a
festival or concert in last 12 months
People from the pre-/no family life-stage
are the most likely to visit all types of
music concerts except classical
Much more likely to:
Come from ABC1 background
Read broadsheet
Have reached higher education
Sources: Mintel Music Concerts & Festivals, TGI

13. Tribalism
Around two thirds of people who visit music
concerts and festivals...
Visit just one genre
Sources: Mintel: Music Concerts & Festivals

14. Festival Goers = Hardcore
Strong correlation between festival visitors
and visiting other types of music concert
Rock/indie concert-goers correlate most
highly with festival goers
Also more open to different types of concert
e.g. pop, dance, rap etc
Heavily concentrated amongst 15-24-year-
old males
Sources: Mintel: Music Concerts & Festivals

15. Revenue By Region
4% 2%
6%
8%
21%
11%
London
South East
North West
Midlands
Scotland
South West
North East
Wales 14%
Northern Ireland
19%
15%
Sources: Mintel: Music Concerts & Festivals, PRS

16. Venue Type
21%
37%
Arenas
Mid-level
Festivals
Stadia
Clubs
Parks 19%
1%
11%
11%
Club Regularly vs Gig Regularly
- 35% vs 9% go weekly
- 5% vs 32% go less than monthly
Sources: PRS, Mintel Music Concerts & Festivals, EMR Digital Music Survey

17. Summary
Key audience = 16-24 affluent males
Little cross over in terms of genre
Leveraging existing fan communities and social networks will be key as difficult
to draw in casual fans
Festival and rock/indie fans offer widest reach in terms of attendance and
number of genres
Focus marketing activity around London, North and Festivals

18. Media Consumption

19. Multi-Taskers
Squeeze 31 hours of activity into one day
26% of their time is spent on multiple media
They consume more hours of media a week
than they get sleep
Over a third of consumers aged 16-24 are
classified as Early Adopters of technology,
compared to 12% of the total population
Sources: Channel 4: Youth Marketing Just Got Useful, Mintel iPhone Generation

20. Digital Life
88.4% of 16-24 year olds deemed as heavy
user of the internet
75% go online every day
Computer is their main entertainment hub
Most popular internet activities (last 3 months)
88% Email
80% Social Network
78% Watch video content
77% Listen to music for free
74% News sites
Youtube has greater reach than Facebook
77.8% vs 65.2% over 3 month period
Sources: TGl, Mintel: Digital Trends Report

21. Free Loaders
‘Access to all areas’ mentality
And a real reluctance to pay for media
content
Less interested in tangible formats
(music, news, magazines, TV, video,
podcasts and mobile apps)
More likely to be male than female
Sources: Mintel Digital Trends Report

22. Broadcast
16-24 year olds:
- watch less television
- listen to less radio
- read less newspapers and magazines
However they still reach big numbers
Cinema is experiencing something of a
revival
90% have visited the cinema
38% going at least once every month
Sources: TGl, Mintel Digital Trends Report, ABCe, Ofcom

23. Mobile
97% of 15-24 year old consumers own a
mobile phone.
37% of young consumers owning a
smartphone
71% of smartphone owners in the UK have
downloaded an app
20% 16-24s listen to music online through a
smart phone
The mobile internet has become
synonymous with Facebook access
Sources: Ofcom, Youth TGl, Mintel Digital Trends Report

24. Summary
Experts at filtering information
Media consumption in consumers aged 16-24 is largely dictated by the pace of
technological innovation itself, so need to be ahead of the game not merely
reacting to it
Digital channels, mobile and cinema offer best route to audience
Mobile integration will be key to any success as lowers the boundaries from
recommendation to purchase

25. Social Media

26. TEMPORARY TIES
Friends
WEAK TIES
Friends of friends and can reach big numbers.
However, we can only keep up with 150 people
STRONG TIES
4-6 independent groups of 2-10
Communication is concentrated around 5
strongest ties.
Only regularly interact with 4 to 6 Facebook
friends
80% of phone calls to the same 4 people
80% of Skype calls to the same 2 people
Online gamers usually play with strong ties
150 - Dunbars Number
When social groups begin to break down
Seen in ancient villages
Roman armies
And even social networks

27. Communication
One to one. One to some. One to many.
Some to some. Some to many
Many people use email for private exchanges
4 reasons people update status
- shape how others perceive them
- maintain and grow relationships
- share content
- source information

28. Influence
No such thing as ‘the’ influencer
Much more complicated
Duncan Watts (Yahoo! Research) found that
when choosing new music, knowing what
music other people listened to was far more
influential than whether the music was of
high quality. He found that the music people
downloaded was the music that other people
had downloaded before them.

29. The Game
People care about what they look like
Collect badges, friends, followers and titles
Drive trail/participation
Establish advocacy
Maintain loyalty
Help me build trust in someone

30. Sharing
Content is king
Photos, videos etc
Groups, likes, retweet, status up dates
News and information
Privacy is key to build trust

31. Sources
Friends
Mark Granovetter, The Strength of Weak Ties
Buddy Brain Drain, New York Post
Connected, Christakis & Fowler
Facebook
usagewatch.org
Communication
Profiles as Conversation, Boyd
Addressing Constraints, Gross
Mintel Digital Trends Report
Influence
Connected, Christakis & Fowler
6 Degrees, Watts
The Tipping Point, Gladwell
Identifying Influential Spreaders in Complex Networks, Researchers at Universities in the USA, Sweden and Isreal
Effects of Word of Mouth Versus Traditional Marketing, Trusov, Bucklin, Pauwels
The Game
I rate you, you rate me. Should we do it publicly?, University of Michigan
Trust and Nuanced Profile Similarity in Online Social Networks, Golbeck
Strategies and Struggles with Privacy in an Online Social Networking Community, Strater and Lipford

32. Key findings
‘Friends’ are not one homogenous group and the way they interact can vary
wildly
Social media key to trial, advocacy and loyalty
Go beyond the cash incentive to earn it e.g. reviews, recommendation,
photography, video and social competitiveness/rewards

33. Discovery

34. Where would you say that you usually find out
about new bands/artists that you like?
100
80
67
63
60
49
40
21
Radio 18 20
Friends 17
Music TV
Print Media 14
TV Shows 0
Music Mags
Blogs
Sources: Human Capital: Youth and Music Survey

35. Where would you say that you usually find out
about new bands/artists that you like?
100
80
60
38
40
15
15
Youtube 20
Myspace 8
Band Site
Facebook 4
NME 4 0
Last.fm
1
Blogs
Sources: Human Capital: Youth and Music Survey

36. Social
‘friend’ a band on Facebook and be alerted
to their gig, just as you would a birthday
56% heard of festivals by word of mouth
48% used community websites
Sources: Association of Independent Festivals

37. Why People Don’t Go
60% of 16-24 year old concert / festival
goers would go more regularly if tickets
were less expensive
“Nearly 35% of [ticket] inventory goes
unsold and if you ask fans why they didn’t
go to shows, one of the more popular
reasons is ‘I didn’t know about it.’”
Sean Moriarty, former CEO of Ticketmaster
Sources: Mintel Music Concerts and Festivals

38. Filling The Void
Sites such as Songkick exist purely to inform
music fans who register with it of
forthcoming concerts and tours.

39. Summary
Ironically with so many methods of discovery fans are finding it hard to keep track
of their favourite bands
Investigate partnerships / integration with:
- Recommendation services
- Youtube
- Radio stations
- Social networks

40. Ticketing

41. Buying Tickets
Online accounts for approximately 80% of
total sales.
80% of young consumers would be
interested or very interested in using their
mobile phone to pay for products.
Sources: Mintel Online Booking and Ticket Purchasing, Alcatel-Lucent

42. Why Online?
42% to get an online discount
34% because it could only be booked online
20% were already online comparing prices
14% clicked through from email newsletter
12% were sent a link by a friend or family member
11% read a review, then clicked through to book
3% saw a post or photo on friends social network profile
Sources: IPSOS, Mintel Online Booking and Ticket Purchasing

43. Attitudes To Booking Online?
83% find online more convenient
79% only trust well-known sites for buying tickets
72% are confident that online transactions are secure
64% say a poor website would put them off a venue
58% are more confident about getting popular tickets
50% are more likely to book if there are photos
30% are more likely to book if there are videos
Sources: IPSOS, Mintel Online Booking and Ticket Purchasing

44. Trust
Secondary operators marketing strategy has
been built on promoting its consumer
protection initiatives.
51%of online shoppers said social media
had influenced their online purchasing
activities in the past.
74% of these people said reading a negative
comment influences their likelihood to do
business with the company with
56% said they avoided a particular vendor
after reading bad reviews.
52% saying they used a particular vendor
after reading good reviews.
Sources: Mintel Online Booking and Ticket Purchasing, Tealeaf

45. Secondary Market
Almost 500,000 people have been ripped
off by ticket scams in the last year to the
tune of £30 million.
One in seven people who buy a ticket to a
live event is ripped off by a fake website.
70% of scams relate to live music events.
Sources: Viagogo, Metro, Mintel Music Concerts and Festivals

46. Summary
Online is perceived to offer a better deal and convenience
But has issues with trust, especially for a new platform
Trust can be built through design, user experience, peer recommendation,
partnerships and leveraging background of credibility of boards

47. Insiders View

48. Game Changer
“… social networking has changed the terms
of how we and artists can engage with their
fans/ticket buyers. Announcements can be
instant and we can run specific pre sales just
to facebook fans. People can also ‘complain/
engage’ with us directly and for certain
events such as festivals we can find out
opinions on line up/artists.”
Julie Morgan, Marketing Manager,
SJM Concert Promotion

49. Get To The Point
“Make it as simple as possible, one click
solution... Give incentives. If done properly,
they do the work for you.”
Toby Peacock, Head of Global Project Management,
[PIAS] Entertainment
(Seasick Steve, Grace Jones, Royksopp, Vitalic)

50. Create Noise
“If there is no buzz - create it - be innovative
and make people think there is a buzz even if
there isn’t - tease people - make people go -
what the fuck is that? People like to think
they know everything and when they don’t it
fucks with them.”
Caroline Reason, CAA UK, Booking Agent
(Blur, Beck, Radiohead, 50 Cent, Yeah Yeah Yeahs)

51. Loyalty
“Bands like Mumford and Son do all their
own direct to fan gig promotion and only
release tickets to the general public if they
can’t sell all their tickets in house first.”
Jon Slade, CEO, Elastic Artists, Booking Agent
(Animal Collective, Diplo, Black Lips, Flying Lotus)

52. Spend Prioritisation
“Online ads, Facebook ads, national and
regional press, in that order”
Ed Millett, Hear No Evil, Artist Manager
(Guillemots, Ray Davies, Penguin Prison,
Fyfe Dangerfield, Sparkadia)

53. SMS Marketing
“Not really too expensive and intrusive”
Oli Issacs, This Is Music, Artist Manager
(Simian Mobile Disco, A-Trak, Little Boots, Annie Mac)

54. Summary
Social media has allowed fans to engage with the acts they love
Artists and promoters can interact with fans and build stronger relationships
People want ‘one-click’ solutions
Incentives can help pull people over the line
Can’t just rely on the music / artist to get people talking
There are different ‘levels’ of fan and they need different approaches
A trend for artist going straight to their fans to sell tickets has started organically

55. Ticketing

56. Ticketmaster
Number 1 ticketing site in UK with a strategy
built around exclusive deals with venues
January 2008 purchased of Get Me In! for a
fee in the region of £50 million.
January 2010 merged with Live Nation to
create Live Nation Entertainment.
Established an 83% market share in US
ticket sales by acquiring seven of its rivals
and whose biggest client was Live Nation.
Sunday Times investigation found that
attempts to buy tickets for Lady Gaga and
Kylie Minogue tours on Ticketmaster were
directed to Get Me In!
Sources: Mintel Online Booking and Ticket Purchasing, Review Centre,
Company Accounts, ComScore

57. Ticketmaster
4.58 million visitors PCM
2.3 million unique visitors PCM
30% market Share
7.7 average minutes per visit
2010 turnover £77.8 million
10% growth vs 2009
Review Centre Av. Rating - 1.8
(out of 5) from 115 reviews
Sources: Mintel Online Booking and Ticket Purchasing, Review Centre,
Company Accounts, ComScore

58. See Tickets
See Tickets claims to currently be selling in
excess of 9 million tickets per annum in the
UK with gross sales exceeding £240m per
annum.
In 2007, it famously sold 137,500 tickets for
the Glastonbury Festival in 1 hour 45
minutes.
Four strands:
1. Traditional ‘pure play’ agent
2. Web-based self-service offering
3. Provision of box office systems
4. Ticket management facilities to venues
and promoters who prefer to do their own
selling.
Sources: Mintel Online Booking and Ticket Purchasing, Review Centre,
Company Accounts, ComScore

59. See Tickets
1.9 million visitors PCM
1 million unique visitors PCM
12.7% market Share
7.7 average minutes per visit
2010 turnover £7.4 million
11% growth vs 2009
Review Centre Av. Rating - 1.7
(out of 5) from 115 reviews
Sources: Mintel Online Booking and Ticket Purchasing, Review Centre,
Company Accounts, ComScore

60. Get Me In!
UK-based secondary seat exchange allowing
fans to buy and sell tickets amongst each
other for live sport, concert, theatre, opera
and other events.
‘Tickets for true fans. Guaranteed’
FanGuard Guarantee - a pledge that buyers
will receive the tickets ordered (comparable
or better) in time for the event, with a refund
if the event is cancelled.
In the event that these terms cannot be met,
buyers receive a 100% refund plus a 50%
credit towards any future purchase.
Prices being charged for tickets on Get Me
In! attract criticism
Sources: Mintel Online Booking and Ticket Purchasing, Review Centre,
Company Accounts, ComScore

61. Get Me In!
565,000 visitors PCM
411,000 unique visitors PCM
3.7% market Share
2.3 average minutes per visit
2010 turnover £4.3 million
11% growth vs 2009
Review Centre Av. Rating - 3.6
(out of 5) from 115 reviews
Sources: Mintel Online Booking and Ticket Purchasing, Review Centre,
Company Accounts, ComScore

62. Viagogo
Viagogo is a secondary ticket exchange
offering buyers and sellers a trusted and
secure platform for trading of tickets
supported by a guarantee.
Adopted a strategy of becoming the official
secondary ticketing partner with major
names in the entertainment field; such deals
have been done with Manchester United,
Madonna, Isle of Wight Festival, Festival
Republic and IPC Media (NME)
Signed a deal with the Nectar loyalty
programme whereby Nectar customers
buying tickets on Viagogo earn points
Sources: Mintel Online Booking and Ticket Purchasing, Review Centre,
Company Accounts, ComScore

63. Viagogo
624,000 visitors PCM
428,000 unique visitors PCM
4.1% market Share
2.4 average minutes per visit
Review Centre Av. Rating - 3.6
(out of 5) from 482 reviews
Sources: Mintel Online Booking and Ticket Purchasing, Review Centre,
Company Accounts, ComScore

64. Seatwave
Claims to be “Europe’s largest online fan-to-
fan ticket exchange” with more than 1
million tickets on sale at any one time.
TicketIntegrity, which guarantees that
buyers will receive the tickets they ordered
in good time for the event or, failing that,
they receive a 100% refund
TicketCover, which provides a full refund if
an event is cancelled
White label arrangements, providing
exchange site which is then rebranded by its
client e.g. hmvtickets
Signed a revenue-sharing promotional deal
with MTV under the terms of which
MTV.co.uk promotes tickets for gigs and
festivals from within news and features
throughout its site
First ever ATL campaign in 2010
Sources: Mintel Online Booking and Ticket Purchasing, Review Centre,
Company Accounts, ComScore

65. Seatwave
584,000 visitors PCM
379,000 unique visitors PCM
3.8% market Share
2.6 average minutes per visit
2010 €5.2 million
Review Centre Av. Rating - 4.1
(out of 5) from 115 reviews
Sources: Mintel Online Booking and Ticket Purchasing, Review Centre,
Company Accounts, ComScore

66. Songkick
At its heart SongKick aggregates ticket prices. Tracking every venue, including small
ones, for all types of music except classical.
Recently raised $1.8 million in its 4th round of funding. This latest round of
funding puts SongKick's fundraising total at just under $7.5 million.
SongKick have not released any official traffic figures but claim expansion of
20% a month, which they say will make them larger than Ticketmaster in
about a year. Believing they can easily become a high traffic site with more than 60
million unique visitors per month.
The site also collects reviews of concerts and has an archive section which carries
details of concerts 20 or thirty years ago. People upload photos, video, and setlists.
Deals include Youtube and Vevo links to corresponding pages on
SongKick as well as with Yahoo search where they add value to its music searches.
Sources: Wired, Paid Content, Mashable, Silicon Valley Watcher, Read Write Web, Social Beat

67. Summary
Two strategic approaches:
1. Exclusivity
2. Trust

68. Platforms

69. Overview: The premier European audio streaming platform. Soon hoping to launch in the USA.
Strapline: All the music, all the time.
Paid Subscribers: 1 million
PR and Partnerships
• July 2009 – iPhone and Android app released
• October 2009 – 3UK/HTC partnership starts mobile UK offering
• November 2009 – Symbian app released for Nokia, Samsung, Sony phones
• April 2010 – Facebook connectivity, music sharing between friends and music management improved.
• May 2010 – Ad free, paid subscriber service launched
• September 2010 - Sonos partnership brings Spotify access to home hi-fi
• October 2010 - Windows Phone app launch
• January 2011 – Logitech partnership for more home hi-fi access
• January 2011 – Shazam partnership delivers ability to play and buy track after tagging in Shazam apps.
History
1) Company started in 2006. No labels on board until 2008.
2) 2009 less than 10% of users were premium subscriber with 50% growth rate, month on month
3) February 2011 still not launched in the USA. Signed with EMi and rumoured to be close to deal with Warners.
4) Still running at a loss, but valued at $1bn.
5) February 2011 – Spotify reaches 1 million paid subscribers.
Criticisms
• Independent record labels are threatening to leave the platform over lack of royalties vs majors
• Royalties negotiations with the majors are covered by NDAs

70. Overview: Last.FM is a personalised music recommendation service based on the
music they play on their PC, mobile device or blog site
Strapline: Need New Music?
Monthly Unique Visitors: 5 million
Features
• Creates user profiles using “The Scrobbler”, a small application that tells Last.FM what songs you are playing
on your computer or mobile device.
• Recommendations are based upon play data collected by the Scrobbler.
• 2010 US user base generated about 1,000 pieces of track data per second.
PR and Partnerships
• Scrobbler written for connectivity with almost every PC based audio player, all major mobile platforms and
many blog pages.
• February 2008 Hype Machine Scrobbler released and marketed on both websites. Interconnect of user
profiles between the sites possible.
• December 2008 Scrobbler incorporated into Spotify software.
History
1) Complete redesign in 2008 after CBS purchase. CBS press release claimed a 20% increase in traffic.
2) More than 3.5 million tracks available to stream on-demand
18million tracks scrobbled per day
3) Free streaming policy ceased in 2009 in all countries except the UK, USA and Germany. Subscription fee
in all other countries in place at €3 per month.
4) 2009 financial year saw company move much closer to profit, going from a £17m loss in 2008 to a £2.8m
loss, with 55% of revenue generated from the UK market and 33% from the US market.

71. Overview: Apple’s opening shot into social networking in conjunction with their iTunes. Initially
lacking many of the expected features, Ping has improved it’s feature list steadily since it’s launch.
Strapline: A Social Network for Music.
Monthly Unique Visitors: Official numbers unavailable but some suggest only about 1 million
Features
• Users can follow favourite artists.
• Artist’s recommendations and likes listed in their profile.
• Like and Post buttons available at point of sale within the iTunes store.
• Artist feed for status updates, photos etc.
• Users can see what friends and other fans have been listening to.
PR and Partnerships
• Permanent presence on the iTunes stores.
• Status updates feed Twitter stream.
• Concert information provided by Live Nation.
Criticisms
• Lengthy signup process.
• Difficult to connect with friends – no Facebook integration. Initially no contact import facility (eg with Gmail
address book) but that has now been rectified.
• User’s taste in profile limited to three genres
• Flawed recommendation engine
• Initially a lack of artist pages even for relatively large artists

72. Overview: Tracking handpicked music blog sites and then distilling the trending of
new music, aggregation of comments and creation of a community
Strapline: None
Monthly Unique Visitors: 250,000 – 300,000
Features
• Where possible, all tracks available for preview on the website are also linked to the major digital music
retailers – iTunes, Amazon, eMusic. Hype Machine’s commission is their primary revenue source.
• Integrated with Twitter, Facebook, Soundcloud, Last.FM, Songkick.com
• Re-promotes the blogs that are it’s sources as banner ads on the site.
• Users can view their friends listening histories.
• Has an annual summary in it’s Zeitgeist section.
• Planning iPhone application.
PR and Partnerships
• Soundcloud partnership to facilitate label and artist to supply pre-release material to bloggers.
• Last.FM Scrobbling enabled for registered users. Promoted on banner ads.
Criticisms
• Some industry players have criticized it for making it easier to download music for free.
History
• 2007 – Profiled on CNN, Wired, The Guardian
• 2009 – On 100 Essential Websites list in The Guardian.
• 2010 - Began Soundcloud partnership to allow labels and artists to service bloggers with new and pre-release
tracks eg Warpaint, Lykke Li, The Dears.

73. Overview: A website that connects fans to the tours of their favourite artists.
Strapline: None
Current Monthly Unique Visitors: 100,000 +
Features
• Imports favourite artists list from your Last.FM or Pandora profile.
• Facebook app for increased social networks integration.
• Their API allows connection through iTunes, Last.FM and Pandora. Concert listings can then be filtered by
artist, location and date and other recommendations made based upon the user’s artist preferences.
• iPhone app – scans users iTunes library and in combination with the phone’s GPS functionality, sends
concert notifications and recommendations to them. Not available in the UK (??)
• Alerts based around favourite artists, favourite venues, friends gig activity.
• Distills Twitter feeds, capturing tweets about local shows of favourite artists so users can “experience” the
concert.
• Has the largest database of upcoming concerts in the world (Music Week 13 August 2009)
• Affiliate program allows 50% of ticketing revenue received by Bandintown from third party users goes to host
website. Current partners include HypeMachine, TuneGenie, Pure Volume and Absolute Punk.
PR and Partnerships
• Facebook, Last.FM partnership links user profiles to tour information.
• Partnerships with 60 ticket providers in 140 countries – Ticketmaster, Stubhub et al
History
• March 2009 – launch API for integration into other music sites.
• May 2009 – Google Trends traffic listed as approx. 750k Monthly Uniques
• August 2009 – iPhone app launched that integrates GPS data for local gig recommendations, and also site
redesign and Twitter integration.
• August 2009 – 30,000 registered members, 500k+ unique monthly visitors.
• September 2009 – Affiliate program launched to share ticketing revenue.

74. Overview: Nokia‘s “Comes With Music” was a short lived unlimited download service offered for
selected Nokia handsets. The service was free for the life of the phone contract.
Strapline: Comes With Music
Monthly Unique Visitors: N/A
Features
• Major label content contained DRM except in China.
• Users were able to keep their downloads after the first year even if they did not continue to pay for the service.
• Piracy concerns meant that tracks could only be transferred between the handset and the user’s computer.
History
• October 2008 – Launch party.
• December 2008 – Tunebite software released that strips the Microsoft DRM from downloaded tracks.
• July 2009 – Unofficial figures revealed the service only had 107,227 users across the initial nine countries it was
launched in.
• August 2010 – Rebranded as OVI Music Unlimited and folded into the OVI Suite offering.
• 2011 – OVI Music Store Unlimited closed in 27 markets (remains in India, China and Indonesia).

75. Summary
Closed systems don’t thrive
Interface is everything
Unique if possible, extra special if not
Online doesn’t mean virtual
Music consumers are mostly not train spotters