"Merch Madness" is dead

Curated music and industry analysis | 7.21.20

šŸ“» Hi, thanks for tuning in to Arpeggio.

The focus of Arpeggio is to provide fresh, curated music from rising artists because in a world dominated by streaming companies there are independent musicians who deserve the spotlight. I also touch on the latest data, trends, insights, and analytics as the music biz continues to evolve.

In today’s newsletter, I’m looking at the end of ā€œmerch madness,ā€ why this is great for the music industry, and why Juice WRLD’s posthumous album Legends Never Die is arguably bigger than Travis Scott’s 2018 release of Astroworld. As always, music first.

šŸŽ§ Recording Industry

Here’s what I’m listening to this week.

Above are three singles by Lianne La Havas ahead of her full-length album, which released this Friday. Take a listen here! 

ā€œBeautifulā€ was released by the singer and multi-instrumentalist Mike Milosh in June.

Juice WRLD’s posthumous album charted as the highest first week in 2020.

šŸ—žļø Music Business

For years, artists had a clear incentive to bundle anything and everything they wanted on their official ecommerce shops. The reason for this is if you were to loop in attractive merchandise or ticket sales with your physical and digital recordings, the bundle-driven sales could take your album up to the top of the charts.

Billboard published an article last year, naming the strategy ā€œMerch Madness.ā€ Bundling in and of itself isn’t bad. As album sales have decreased by over 10% for the last few years, it’s proved to be a solid revenue maximization strategy. It becomes a problem when generic items like food and beverages are bundled and the Billboard charts start to inaccurately reflect whose music is topping the charts.

Travis Scott’s Astroworld’s first week of sales leaned heavily into bundling the merchandise with the physical and digital recordings on Shopify. And this year, Taylor Swift had over 35 bundles in her store for her album Folklore.

Under the new rules, which will be implemented at a start date to be announced, all albums bundled with either merchandise or concert tickets must be promoted as an Ć  la carte add-on to those purchases in order to be counted on the charts (i.e. a separate item added to a shopping cart on its own). Those included as part of a baked-in, single-price option (along with the merchandise or ticket), with the album cost undisclosed to the consumer, will no longer be counted. It is Billboard’s belief that the resulting charts will more accurately reflect consumer choice.

In addition, Billboard will no longer allow sales of physical albums or singles that are bundled with digital downloads to be reported as digital sales, thereby eliminating the practice of ā€œspontaneousā€ non-manufactured items being used to influence first-week chart rankings. Only when the physical item -- ostensibly what the consumer is buying -- is shipped, will it be counted in Billboard’s official tallies.

Billboard is implementing these changes to address widespread concerns that an accurate measure of consumer intent -- which has been the basis of the Billboard charts since their inception -- is being undermined by increasingly-common bundling practices. The new guidelines will better ensure that Billboard chart rankings more accurately reflect the conscious purchasing decisions of consumers and level the playing field for all artists.

– Billboard

The strategy to maximize revenue has been used for decades and has drawn more criticism recently. Last year DJ Khaled had a clear path to a #1 album with Father of Ashad featuring everyone from 070 Shake to SZA to Lil Wayne, but the album fell short behind Tyler the Creator’s album Igor when Billboard determined that the marketing promotion for bulk sales of energy drinks had crossed the line.

It makes sense to stop a project from gaming the charts with something as generic as bulk energy drinks, and I’m happy to see the rule change.

These articles below illustrate the concern around bundling.

šŸ’„ Podcast: How Music Charts by Chartmetric

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– Jimmy Seykot