Total global revenues from collective management of copyright amounted to €9,6 billion in 2021, up 5,8 percent from the previous year. However, revenues were 5,3 percent lower than before the COVID-19 pandemic.
/ 02/11/2022 / Willy MartinsenCollective management of copyright is one of the most important sources of income for songwriters, composers, lyricists and other artist groups worldwide. CISAC, the global umbrella organization for 228 collective management organizations, has now published its annual report on the income of its member organizations.
The "Global Collections Report 2021" shows that global royalty revenues from collective management organizations in music, the audiovisual field, drama, literature and visual arts in 2021 again experienced growth after the Covid-19-related decline of 10 percent in 2020.
The 5,8 percent growth in 2021 brought total revenues to collective management companies in all the above-mentioned areas of art to 9,6 billion euros. Despite the growth: Revenues were still 5,3 percent lower than in 2019.
Looking only at the music sector, the remuneration income of composers, lyricists and songwriters grew by 7,2 percent in 2021 to 8,48 billion euros – 5,1 percent lower than in 2019.
– The Covid-19 restrictions resulted in a two-year collapse in remuneration income from concerts and public performances for composers' and songwriters' collective management organizations. Here, income in 2021 was still 45,1 percent lower than in 2019. In return, income from music and film streaming services increased by 27,5 percent in 2021, resulting in total digital income of 3,06 billion euros, says Willy Martinsen, Communications Director at TONO.
The report explains the strong growth in digital revenues with strong organic growth in streaming services and new negotiated licensing agreements between services and collective management societies. The digital area now accounts for 32,6 percent of CISAC organizations' total revenues. This share has increased by almost 50 percent since 2019.
Despite the significant growth in the digital space, the report points to the potential for further growth and the need to strengthen creators' position in the streaming economy:
– Prices for music streaming subscriptions have remained unchanged for almost two decades, despite inflation, significantly greater usage and the fact that the services can now offer far better products in the form of significantly larger repertoires. It is also pointed out that songwriters, composers and lyricists only receive about 15 percent of the streaming services' revenues, and that CISAC companies worldwide must continue and strengthen their work on data quality to ensure accurate settlements to performing authors, says Martinsen.
Traditional radio and television broadcasting remains the largest revenue area overall for CISAC member organisations, accounting for 38 percent of total worldwide revenues.
Below are graphical representations of some key figures from the Global Collections Report (all repertoires – music, audiovisual, drama, literature and visual arts): 1. Revenue and annual growth, 2. live and background and 3. digital revenue.
Here are the key findings of CISAC's Global Collections Report 2021:
https://www.cisac.org/Newsroom/news-releases/global-creators-collections-58-2021-still-below-pre-covid-levels
Download the report here: https://members.cisac.org/CisacPortal/cisacDownloadFileSearch.do?docId=43279&lang=en
CISAC (International Confederation of Societies of Authors and Composers) is the world's leading network of collective management societies. CISAC protects the rights and represents the interests of creators worldwide. With 228 member organizations in 119 countries, CISAC represents over four million creators of music, audiovisual productions, drama, literature and the visual arts. www.cisac.org
TONO was founded in 1928 and is a non-profit cooperative owned and managed by composers, lyricists and music publishers, and which, on their behalf, manages the economic copyrights in the music they have created. TONO grants permission for the use of protected music on radio, TV, the internet, concerts and cinemas, etc., for a fee, and transfers its financial results each year to the rights holders of music that has been played publicly. TONO has more than 38,000 members in Norway, but also works for millions of authors and music publishers from around the world. TONO gives music creators an economic basis to create new music, and collects and simplifies the licensing of protected music to music users. TONO had a turnover of NOK 843,9 million in 2021.
For more information:
Willy Martinsen, Communications Director at TONO, mob 909 65 254, willy.martinsen (a) tono.no