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action or later. Please see Debugging in WordPress for more information. (This message was added in version 6.7.0.) in /home/cadev/dev.celebrityaccess.net/public_html/wp-includes/functions.php on line 6119(Hypebot<\/a><\/strong>) — The music industry mantra is that superfans are the key to success, and while there\u2019s still truth in that statement, the value of a superfan is not what it used to be, writes MIDiA\u2019s Mark Mulligan.<\/p>\n By\u00a0Mark Mulligan<\/strong>\u00a0of MIDiA and the\u00a0Music Industry Blog<\/a><\/em><\/p>\n There has been a lot of talk recently of music superfans and how they may be the shining light of the industry\u2019s future. Little surprise, given how record labels are trying to establish superfans as the next growth driver for an investor community that is growing increasingly concerned about slowing streaming growth and looming threats, such as AI. There is no doubt that superfans are crucial \u2013 they always have been. The problem is that they may not be as valuable in the future as they once were. And the reasons for that lie in the very same streaming economy that the industry is trying to build beyond.<\/p>\n In the early days of the modern music business, music fans\u00a0were<\/em>\u00a0the superfans. The means of demonstrating that fandom was buying the records and, if you were really lucky, seeing the band. A small portion were also members of (usually fan-run) fan clubs. Throughout the \u201970s, \u201980s and \u201990s, the music business further professionalized and productized. The live business emerged as a revenue generator in its own right (rather than the loss-leader for selling albums that it had largely been). Merchandise became widely deployed. Fanclubs became more serious.<\/p>\n Yet, music sales were still the main fandom game in town. The CD era catalyzed music buying at scale and the heyday of the album era. Superfans would buy multiple albums every month (leading to the rise of the \u201850 quid bloke\u2019<\/a>). Superfans were album fans. Superfans were album buyers. And there was no ceiling on how much they could spend.<\/p>\n Then along came Napster, turning the world upside down. Music sales started to plummet and the album began its long, steady demise, as consumers dissected albums, first on Napster, then iTunes, and then YouTube and Spotify.<\/p>\n When Spotify came to market, the recorded music industry was in crisis, with revenues in freefall. People just were not buying albums anymore. 50 quid bloke had become an endangered species. Recorded music\u2019s loss was live\u2019s gain. As music sales fell, live revenues grew, almost in mirror opposite curves. Live became the place superfans began to shift their spend, with merch sales growing in live\u2019s wake.<\/p>\n So, when Spotify came along with the promise of getting people back into the habit of spending on recorded music again, it was eagerly welcomed. Perhaps not immediately, as much of the label community needed convincing, but that speed bump was cleared when labels started to see consumers commit, at scale, to monthly spend. With more people spending more frequently, revenue growth returned. The problem was that those people who used to buy multiple albums every month, now only spent the cost of less than one album to get all the music they could ever want.<\/p>\nA brief history of superfans<\/strong><\/h3>\n
When everyone is super\u2026.<\/strong><\/h3>\n