Rapid digital growthin Latin AmericaMarkets in Latin America are alreadyconfirming this potential, with digitalrevenues growing 124 per cent over thelast three years, compared to a globalaverage of 28 per cent. To build on thisgrowth and unlock value across the massmarket is requiring new ways of thinking.Key strategies include collaboration withmobile operators and ISPs, bundled musicpackages and pre-paid music subscriptionon devices. In Latin America a numberof new partnerships were launched orextended in 2013 as digital revenuesgrew by 28.1 per cent.Figure 11: <strong>Digital</strong> growth in LatinAmerica, 2013, Selected CountriesCountry% growthPeru +149%colombia +85%venezuela +85%Source: IFPISpotify announced a partnership inMexico with Telefonica which bundlestheir music service with phone and dataservices. Deezer partnered with ISP Tigoto cover Central America and the Andeanregion and Napster partnered with ISPTerra to bring the Rhapsody-owned service124% 28%digital growth in latinamerica 2010–2013to Latin America for the first time. USservice Muve offers daily or weekly prepaidmobile music subscriptions startingfrom 50 cents a day and launched in Brazilin cooperation with TIM, the country’ssecond largest ISP. Alejandro Duque, vicepresident, business development anddigital, Latin America at Universal <strong>Music</strong>Group, says: “It’s important to rememberthat credit card penetration is still notvery high in this region so when a serviceonly allows credit card billing they’recatering for a small percentage of thepopulation. That is why doing deals withcarriers, or with any company that is goingto enable mass billing, is absolutely thekey to success.”Piracy remains a huge problem in theregion. Luis San Martin, director generalof Multimusic, Mexico’s leading musiccontent broker for independent artists,says: “We’re fighting piracy on the streets,our robots are searching the internet andwe’re campaigning to get the governmentto deal with the issue. Before, when wedidn’t take action, people thought that itwas OK to break the law. Now we’re anindustry that is taking responsibility forits content.”average global digitalgrowth 2010–2013Local services thrivein AsiaRecord companies are engaging activelyin markets across Asia. In the lasttwo years, the region’s larger marketsoutside Japan have seen the rollout ofall the major download, subscriptionand streaming services, combined withincreased competition from local servicessuch as Taiwan-based KKBOX. Servicessuch as Deezer, iTunes and Spotify areseeing healthy growth in sales amonga largely higher income, credit cardowningdemographic, complementingad-supported services that arefree-to-consumer.In China, licensing agreements are inplace with eight major digital platforms,part of a push towards a paid-for onlinemodel (see China case study, page 36).In India, already Asia’s second largestmusic market after Japan, local streamingservices Gaana and Saavn, which targetdomestic and international higher-incomeIndian customers, are growing fast.Sandy Monteiro, president, South-East Asia for Universal <strong>Music</strong> Group,sees enormous growth potential in Asiamarkets. “Last year was a milestone year,Anitta photo by Washington Possato Armin Van Buuren photo by Chris Davison22
ecause in 2013 we saw the arrival ofmajor global services in Asia. So for thefirst time we are seeing the kind of digitalservices available that already exist inAmerica and Europe. The global serviceshave been very diligent in ensuring theyhave a huge domestic repertoire basebefore they launch in Asia markets, butKKBOX has taken the fight to them byexpanding around the region.”In a region with historically rampantlevels of piracy, record companies and legalservices in Asia have been working to openup the mass market. As in Latin America,they are partnering with ISPs. Deezer’spartnership with Thailand’s second largesttelecom company Dtac has been hailed asa major success. For Universal, Monteirosays more telco partnerships will followwhen operators see the competitiveadvantage in linking with music services:“Somewhere along the lines the telcoswill come around and understand how tobetter monetise their platforms.”Russia shows potentialRussia remains an underdevelopedmarket, but one of huge opportunity.<strong>Music</strong> revenue rose by 12 per cent toUS$69 million in Russia in 2013 after thearrival of iTunes, illustrating the potentialin that country. Record companies havelicensed more than a dozen digital musicservices, including local services suchas Yandex, Trava and several mobileoperators. While the industry is trying tofind licensing solutions, these services arestruggling to fulfil their potential becauseof high rates of digital piracy. Russia’slargest online social network, vKontakte,operates a heavily used unlicensed musicservice, which has been the subject oflegal action by rights holders. While suchservices continue to operate in disregardof music copyrights, it is difficult toestablish a sustainable licensed digitalmusic market in Russia.KKBOX: Asia’s local servicefights its cornerAlthough international services have made moreheadlines in 2013, Asia is home to one of the world’sfirst music subscription services, KKBOX, which isnow competing against the global players with itsown locally-branded freemium service. The service,along with iTunes, helped fuel strong digital salesgrowth in its native Taiwan in 2013, with revenuesup 46 per cent.Founded in 2004, KKBOX is one of Asia’s leadingdigital music services. It provides limited freestreams for its 10 million-plus free users, and anunlimited, fully-portable, integrated mobile, tabletand desktop service for its 1.5 million-plus payingsubscribers. The service is now available across Asiain Hong Kong, Japan, Macau, Malaysia, Singapore,Taiwan and Thailand.Like other digital services, KKBOX is competingon music discovery and curation as it is ondistribution. Chris Lin, founder and CEO of KKBOXset out from the start to create a superiorexperience for consumers used to free unlicensedservices. It has built a differentiated music brandwith quality magazine-style editorial, a move thathas seen the company extend its brand into printedmagazines and TV programming. The servicebecame a hit in Taiwan and quickly launched in HongKong and other Asian markets. In 2013, it launchedanother innovation, ‘Listen With’, which allowsusers of the service to listen live with others with“70–80 per cent” of domestic artists using KKBOX.“We’re trying to build our service into a premiumbrand. You can get free music from YouTube, frompiracy, but there’s something that you cannot getwhich is a closer feeling, closer distance withartists . . . interaction. That’s what we’re trying tobuild — a VIP-club type of feeling.”All players in the legitimate digital music marketacross Asia agree that piracy remains a huge problemfor the sector. Chris Lin says he is competing with15 or 20 illegal services from China that are active.“People call us the leading platform in Asia, but I infact would say the leading platform is still piracy.”23