The Malaysian music industry is on a high: they're raving over a record RM303.89 million in revenue last year, an astounding 57 per cent spike over the pandemic years. Driven by digital sales, comprising 53 per cent, and copyright management, comprising 70 per cent, the industry's future is bright on revenues derived seemingly from "non-artiste" sources. We have to ask: how much of that hefty bounty actually streams into the pockets of our local artistes, scrounging for a gig and a living, unless they're major household names?
Very little, if at all. Artistes are the last to enjoy this 21st-century "digital" wealth. Not so for the streaming juggernauts, the likes of Google, Amazon, Apple and Spotify, lapping up billions hosting tens of millions of songs.
If anything, the domestic corporations representing these behemoths enjoy the back end and dividends from the streaming. As the cliché goes, digital platforms expose artistes to wider audiences, commanding listening clicks in the hundreds of millions and billions. But real money into their bank accounts?
Ask the top artistes if they're raking in the big bucks from streaming and they'd drop dead laughing. Like anyone whose traditional livelihoods were annihilated by the Internet and digital services, artistes have had to adapt, performing more live concerts and club gigs to make up paltry earnings from streaming clicks and album sales.
The situation isn't going to change any time soon: Malaysian digital music market revenue is projected to hit US$52.40 million this year, but a significant quantum, naturally, will be generated in the United States at US$19 million.
The music industry is delighted that Malaysian streaming users will hit 7.6 million by 2029, streaming securing a chokehold on listening platforms. Compact discs, once the first choice of home listening, are dissipating, while vinyl, now enjoying a little renaissance, is a niche popularised by curious millennials.
It's true that Malaysian artistes, like everyone of their worldwide brethren, rely on streaming as a marketing strategy, not as an income earner, to organise concerts, club gigs and music festivals, which is a superior musical experience.
Artistes have to step up initiatives to develop touring and production, and in turn need audio and video professionals, lighting and effects specialists, event planners, logistical providers and promoters.
Technical expertise also demands professionally certified concert crews and this is where music technology schools play vital roles. Since venues aren't necessarily stadiums or clubs, artistes scour for hotel events, product launches and even houses of worship to double up as musical experiences.
The recent Taylor Swift concert in Singapore that generated lucrative and downstream economic revenues for the local industry is a valuable lesson in the business side of music making.
Artistes also rely on a young and tech-savvy population embracing digital music and streaming services, willing to splurge on multiple subscriptions and live music experiences. This happens in two ways: either the new generation has higher disposable income or changing priorities, where they'd rather starve than lose their treasured Internet data plan.