Musique : nouvel âge d'or de la musique ? Digital Music Report de l'IFPI

Description

CONTENTS 4 Introduction Plácido Domingo, chairman, IFPI Frances Moore, chief executive, IFPI 6 Market overview An evolving portfolio business Regional picture 10 Most popular artists and global bestsellers of 2014 IFPI Global Recording Artist of the Year 2014 Top selling global albums & singles of 2014 How streaming is changing the charts 14 Key recording industry trends in 2014 Subscription drives the music portfolio New global services, more reach Smartphones and partnerships drive growth Getting subscription to the mass market Streaming revenue models Streaming services compete on curation Payment options diversify Downloads decline Video streaming surges 20 New IFPI data shows artist payments as share of revenues are up 22 Fixing the ‘value gap’ in digital music www.ifpi.

Sujets

• Musique
• International Federation of the Phonographic Industry
• Digital audio

Informations

• Publié par: Fil_actu
• Publié le: 12 avril 2016
• Nombre de lectures: 13
• Langue: Français
• Poids de l'ouvrage: 12 Mo

Extrait

CONTENTS

 IOUçîO Páçô Dôô, çàà, ïPï àçéŝ Môôé, çé ééçûé, ïPï

 MàE OvEvîE A éô ôôô ûŝéŝŝ Réôà çûé

 MOS OUà àîSS à GOBà BESSEES Of  ïPï Gôà Réçô Aŝ ô é Yéà 2 Tô ŝé ôà àûŝ  ŝéŝ ô 2 ô ŝéà ŝ çà é çàŝ

 KEY EçOîG îUSY ES î  sûŝçô éŝ é ûŝç ôôô Né ôà ŝéçéŝ, ôé éàç sàôéŝ à àéŝŝ é ô Gé ŝûŝçô ô é àŝŝ àé séà ééûé ôéŝ séà ŝéçéŝ çôéé ô çûàô Pàé ôôŝ éŝ Dôôàŝ éçé Véô ŝéà ŝûéŝ

 NE IFPI àà SHOS àîS àYES àS SHàE Of EvEUES àE U

 FîXîG HE ‘vàUE Gà’ î îGîà USîç

www.ifpi.org @ifpi_org Designed by design to communicate

 MOvîG O à GOBà EEàSE àY î 

 COUY çàSE SUîES bà: à ô éô àé Cà: ô ôàŝ à ŝéçéŝ Géà: ŝéàŝ ô, CDŝ éŝé

 MUSîç à HE îE EçOOY Té ôàé éFéç ô éŝé  àŝŝ Mûŝç éŝ é ŝôçà éà Mûŝç à éçôôç ô Tôôô’ŝ ô

 LàBES OîG îH àîSS: fOU çàSE SUîES Dà Gûéà: ûŝ àà éé ûçàŝ ûççô: àŝ à à àé sà s: ôàé ôôô wà Càû: éàçé à ôôô

 TàçîG îGîà îàçY Côŝûé àûéŝ ôàŝ àç wéŝé ôç séàç ééŝ Aéŝ à àé ôéŝ Pàç à àŝ ïPï’ŝ çôé ôéçô ô

 DîGîà USîç SEvîçES OîE

Cover Taylor Swift photo by Sarah Barlow + Stephen Schofield Robin Schulz photo by Geturshot.com Wakin Chau photo courtesy of Rock Group One Direction photo by RJ Shaughnessy Lucas Lucco photo by Guto Costa Ed Sheeran photo by Ben Watts Katy Perry photo by Cass Bird

This report includes new findings from a consumer study carried out by IPSOS in January 2015 across 13 of the world’s leading music markets (Australia, Brazil, Canada, France, Germany, Great Britain, Italy, Japan, Mexico, South Korea, Spain, Sweden, United States), commissioned by IFPI.

© IFPI 2015 All data, copy and images are subject to copyright and may not be reproduced, transmitted or made available without permission from IFPI.

3

INTRODUCTION

P l Á c i d o d o m i n g o c H a I r m a n , I f p I

RESEç fO çOYîGH, GOH fO àîSS

wéçôé ô é àéŝ éô ô ïPï’ŝ àûàDigita Music Report. ï ŝéŝ ôû ô é ûŝç ûŝ àŝ ààé  é à àé à é çàééŝ à ôô ûéŝ  àçéŝ ôà. Téé ŝ ô ôû à éçôô ŝ ô àççéŝŝ ô çûûé, çôéç àŝŝ  àà àû éçéŝ. Aŝ ŝôéôé ô ŝ àŝŝôàé àôû éŝû àççéŝŝ ô çûûé, ï éçôé ŝ à éôûô.

“We need a world where copyright is respected and music is valued.”

Yé é ŝ ô çéàôŝ ûŝ é à ô éçé à éàé  é à ô. wé ï àé é ô à éé ôçàéŝ, ï ûé é ô ô ôé à ôéç çô, ô ô éàé . ï éà à  é ô ô éŝéç é ôé ô çô, à éŝûé é àŝ ôéç  ôé, é é  ŝéé  éŝé  çûûé éàéé. ï àŝŝôàé ééé à àŝŝ ŝôû é à éûéàé ô é ô. ï à ô ŝéé ôû à éé éôéŝ ô à àçôûŝ éô é ŝàé ŝô ô ôôûéŝ ï à   éà é ô ééô  çàéé.

4

Yé ŝ çà ô àé  çô ŝ éŝéçé  à ôŝé ôé  é à àéàçé à ŝ çéàŝ éé ûŝç ŝ ŝûé. jûŝ éçàûŝé ŝôé ŝ ô ŝûé ôé, àé à ôû ŝôéŝ, ôéŝ ô éà à  ŝ ô ôé àûàé. wé éé à ô éé çô ŝ éŝéçé à ûŝç ŝ àûé – éé àŝŝ, ŝôéŝ à éçô ôûçéŝ àé à çôéŝàé é é ûŝç ŝ àé. wéé éŝé  é àŝŝ çà çéàŝé ôçé àà,  éàé çôçé ô ûŝç àŝ éééé. Tŝ ŝ à ûûé ô ûŝç à ï ééé ŝ ô î ô. A  ŝ ôé à ŝ àçé àé  ôû ôçàŝ ŝô éàéŝ à ŝô é  çôéŝ ô é ô’ŝ çûûà ûŝéŝ.

Photo by Graham Flack

F r a n c e s m o o r e c H I e f e x e c U t I v e , I f p I

CHàîG à àH O SUSàîàBE GOH

Té éçôé ûŝç ûŝéŝŝ àŝ ààŝ é é à ô çéàé ûŝéŝ  é à ô. Tà éàéŝ çôûéŝ ôà àŝ é ûŝç ûŝ’ŝ à éôûô çôûéŝ ôû é àŝéŝ, é  é çôŝûé’ŝ éŝé ô àççéŝŝ ô, àé à ôéŝ ô, ûŝç. Aŝ ŝ éô ô ïPï’ŝDigita Music Report ŝôŝ, é ŝàé ô é éçô ûŝ ŝ  à àŝ çàûŝé ô éà ôŝ. Côŝûéŝ àé é é ŝéé à éé éôé – à é çôŝûé éŝéàç ŝôŝ . Té àé ŝà àççéŝŝ, à à é à  à àçé, ô à àŝ éçô çôéçô ô ôé à  ô àçŝ. çéŝé ûŝç ŝéçéŝ, ûé ôé à  ôà, àé çôé éçé ô çôŝûéŝ  ôé éé ô

Aôé ŝŝûé ŝ é ŝôçàé ‘àûé à’. Tŝ ŝ à ûàéà à  ôû ûŝ’ŝ àŝçàé ç ŝééŝ à àôŝ ŝûç àŝ Dà Môô à YôûTûé à àààé ô ééôŝ ô çô àŝ à ŝ ŝôû ô à ô é. àŝ à éé éŝé ô éé àŝŝé ôŝ çôàéŝ ô à  é éà àŝ ô é  éé – ŝôçàé ‘ŝàé àôûŝ’ – ŝôû éé é àôé ô éé àçé à ûŝç ŝéçéŝ ô à ô à éôàé çéçéŝ  ŝ ô éŝ. Téé ŝôû é çàçàô ô é àçàô ô ‘ŝàé àôûŝ’ ô àé  éç à ŝéçéŝ à ŝûé à ôéŝé ûŝç ŝôû ô é é ô é. çôçé à çûàô ô ûŝç. Dà ŝéçéŝ àé “Music companies are charting a path to sustainable ôé ôà, éà é éçô ûŝ ô éàç yearonyear growth. That path was never going to be straight, but we are making great strides along it, embracing new models, licensing, investing and improving consumer choice.” Mûŝç çôàéŝ àé çà à à ô ŝûŝ ààé éàôéà ô. Tà à àŝ éé ô ô é ŝà, û é àé à éà ŝéŝ àô , éàç é ôéŝ, çéŝ, éŝ  à ô çôŝûé çôçé. Té é ŝé ŝ ô àçéé ŝûŝàé ô à à à éà ô ŝ ôéŝ. Tŝ ŝ é ôŝ ôà ŝŝûé ô ôû ŝéçô  2.

àéŝ à  çôû ô ôéŝé ôû ŝçà éà. Gôà ŝàô àŝ ôû çéŝé ŝéçéŝ ô ŝôé 2 çôûéŝ. Nô éé àŝ çàé, ôéé. oû ûŝ’ŝ çôé ûŝéŝŝ éàŝ éŝ  à ŝŝ. A, éŝé à éàŝ ô éç ûŝ ééûéŝ, éçô çôàéŝ çôûé ô é é  à éŝôŝ  é àé: ôé é àŝ é éàŝ ôé à US$2 ô ôà àŝ éé éŝé  àŝŝ. b éé é ééŝ ô é çôŝûé,  éàç çàé à  é éŝé éŝôŝ  ûŝç, éçô çôàéŝ àé û ôû ûŝéŝŝ àç ô é ôà ô éçôé. Dà ûŝç ééûéŝ é . é çé ôà  2. Té éé ô éé  çôûé ŝô ô  ŝûŝçô ééûéŝ, û . é çé. sô ŝ  ‘ŝŝô àççôŝé’ ô é é àôà éçô ûŝ? Té àŝé ŝ ô – à ô ! Té éàé ŝàŝçŝ ô 2 ŝéà ô éŝééŝ,  ôéà ééûéŝ ŝ àé à, ô  . é çé. Tŝ ééçŝ ŝàŝàô – û ô é éàôéà ŝûŝààé ô. oé é àŝ ôû éàŝ é ûé ô à ŝûŝç éŝ ôà àŝ çéàŝé  ôé à éô ô  ô ûŝéŝ. Téé ŝ ôéà ô ààç à éŝ ô ôŝ ôé à ô à ŝéçéŝ ô à éàé ŝçàé, éé à û àéŝŝ  ïsPŝ ô ôé àé àé ôéŝ àôé ô ŝéçç çôŝûé ôûŝ. Té ûŝ àŝ àéà çéàé à àŝ çûŝôé àŝé ô çéŝé ŝéçéŝ, û ôé ééŝ ô é ôé.

5

Market verview

T

global digital revenues – (us$ billion)

4.4

2009

Source: IFPI

6

4.7

2010

5.3

2011

6.0

2012

6.4

2013

6.9

2014

US$6.85 n Té ûŝ’ŝ à ééûéŝ  2

share oF industry revenues 

46% Digital

8% Performance Rights and Synch

John Legend photo by Matthew Williams

46% Physical

ôéé, é ô ô ŝûŝçô à ŝéà àŝ ô qûé àé ô çôé ŝàé é ô ôé é éééŝ ô é  ûŝ’ŝ çûé àŝô: à ôà éçé  ô ŝçà ôà ŝàéŝ (8.) à ôôà ŝàéŝ (8.). Aŝ à çôŝéqûéçé, ôéà éçôé ûŝç ééûéŝ  2 é ŝ  . é çé ô US$. ô.

“The music industry is managing the transitions from physical to digital, PC to mobile and download to streaming at the same time. In that context, I think the industry is performing remarkably well and with a paid subscription model, we are building a business that is here to stay.”

edgar Berger, cHaIrman & ceO, InternatIOna, SOny mUSIc entertaInment

bé é ôà îûéŝ, à àé é çûé ŝ ààé àô é ô’ŝ àô ûŝç àéŝ. TéUSŝà ôéà ééûéŝ çéàŝé  2. é çé  2, àŝ çéàŝ à çôé ôFŝé é à  ŝçà ô à ŝàéŝ. sûŝçô ôŝé ŝà, é ô ôôà à ŝçà ôà ŝàéŝ

é.Jàà ŝà à ô ô é îŝ é  îé éàŝ,  à ŝà ŝé  ŝû ŝçô ééûéŝ é à ééûéŝ ŝé  . é çé. oéà, é jààéŝé àé ŝà à éçé ô . é çé  2, çôŝéà éŝŝ ŝà à é . é çé à  2.Géà àé à ôé ôŝé çûé,  ô  ééûéŝ ô . é çé. Pŝçà ŝàéŝ éà ôé ôûŝ à éŝééé à ŝûŝçô ŝé çéŝ àé ŝéé ŝô ààçéŝ. Té ô àé  é ŝôéŝ ôéà ô àŝSOûH KOéà(.2).

A EoLî ooLîo BuŝîEŝŝ

Mûŝç çôûéŝ ô é à ôôô ûŝéŝŝ,  ééûéŝ ééàé ô à éŝé àé ô çàéŝ çû ûŝç ŝûŝç ô ŝéçéŝ, CDŝ,  Pŝ, ôôàŝ à éôàçé ŝ çéŝ. w ŝ ôôô, é é éŝ ô çàé  2 éé é ŝé ô ŝéà  à é éçé ô ŝçà à ô ôà ééûéŝ. Côé àŝûôé à ŝûŝçô ŝéà ééûéŝ ô àççôû ô 2 é çé ô ôà à ééûéŝ, û ô 2 é çé  2. Tŝ ŝéçô ŝ àŝ çàç û ô ôôàŝ àŝ é ûŝ’ŝ à à ééûé ŝôûçé:  ô éé à  àéŝ (çû sôû kôéà, séé à Méçô) ŝéà é éûéŝ àé ôéàé ôôà çôé. Rééûéŝ ô ŝéà ŝûé ôŝûŝCîîO ŝéîCéŝ àà-ŝû- Oé ŝéàî. Té àé ééûéŝ àé ŝéé àççééà ô ôà – û  8. é çé  2, à ŝîçà é ô àé à é . é çé çéàŝé  2.

global digital revenues by sector ()

52% permanent Downloads

3% Mobile personalisation

9% Ad-supported streams income 12% Other

23% Subscription streams income

YôûTûé àôé àŝ ôé à ôé ô ûŝéŝ à ûŝç éàé çôé àéŝ û à é àé ôôô ô ŝ ûŝé. Côŝûé éŝéàç ûŝé ô ŝ éô  ïŝôŝ, çôûçé àçôŝŝ  ô é ô’ŝ éà ûŝç àéŝ  2, ŝôŝ à  é çé ô éé ûŝéŝ àé àççéŝŝé ûŝç ô ûŝç éôŝ ô éé éô ŝéŝ ŝûç àŝ YôûTûé  é àŝ ŝ ôŝ, çôàé ô 8 é çé ô ûŝç ŝéà  ŝéŝ ŝûç àŝ sô à 2 é çé ô ôôà ŝéçéŝ é Tûéŝ. Té éŝéàç îŝ ôé à à qûàé ô éé ûŝéŝ (2) ŝé ô ûŝç ô YôûTûé ôû àç é éô.

“Music is one of the most potent forces shaping culture, entertainment and technology. We are committed to forging new business models, delivering maximum value for artists and building a bright future for our industry.”

StU Bergen, preSIdent, InternatIOna, Warner recOrded mUSIc

39.0% ŝûŝçô ô

 4 éô 1 é ûŝ m  ŝûŝçô ŝéçéŝ

Michael Bublé photo courtesy of WMG

7

DOWOàŝàççôû ô é ŝ û ô ôà à ééûéŝ (2), û éçé  8. é çé  2. sé àç ôôàŝ éçé  . é çé  2, é à àûŝ àŝô ŝà é éûéŝ ô .2 é çé. Dôôà ŝàéŝ éçé  ûà à éŝàŝé à éŝ, û çôûé ô ô  ŝôé éé  àéŝ. Té ôà éçé àŝ é  à àé ô àçôŝ, çû é ŝà ô ô Aô ŝàôéŝ à à éŝ ôéàé ô ŝéà ŝéçéŝ àé à ôôàŝ. Tŝ àŝ çôé  à çéà àôû ô ŝûŝûô àŝ çôŝûéŝ ôé ô ôôà ô ŝéà  ŝéçéŝ. Gôà ûŝç ûŝ ééûéŝ ôHŝîCà fOàŝàççôûé ô éŝŝ à à ô ôà ûŝ ééûéŝ (). Nôéééŝŝ éé ŝ à àé ôà  éŝ ééé Féé çôûéŝ,  à ôûŝ ŝçà àé ŝàé ŝ éçôé  çôûéŝ ŝûç àŝ Aûŝà (), àçé (), Géà (), jàà (8), Pôà () à sôû Açà (2). V éàŝ à çé ôûç, àççôû ô 2 é çé ô ôà ééûéŝ, û é ôà çô ûéŝ ô éé  ŝàéŝ çéàŝ . é çé  2.

péfOàCé îHŝ ééûé – çôé ô é ûŝé ô éçôé ûŝç  ôàçàŝéŝ à ûç éûéŝ – çéàŝé  8. é çé à ô àççôûŝ ô  é çé ô ôà ûŝ ééûéŝ ô US$8 ô, çû ŝôé ôéô ééûéŝ àŝ à éŝû ô àô çàŝéŝ (ŝéé ôé ô éôôô). SCHOîŝàîO ééûéŝ– çôé ô é ûŝé ô ûŝç  àéŝ, î, àéŝ à ééŝô ôàéŝ –  çéàŝé  8. é çé  2   àŝ  àéŝ ŝûç àŝ àçé (.), Géà (.) à jàà (.).

Note:IFPI has amended the methodology and scope of its coverage of performance rights revenues globally and in the US for 2014. Globally, performance rights revenues now refer to distributions made to record companies (including nonrecurring distributions) in the same year they reach record company accounts. Previously, IFPI reported performance revenues, excluding nonrecurring distributions, one year in arrears. In the US IFPI has for the first time reported SoundExchange distributions under ‘Other Digital’ and included artists share in the reported revenue. The change aligns IFPI’s worldwide reporting with the RIAA reporting practice for the US. It reflects the fact that a significant proportion of SoundExchange revenues comes from personalised streaming services (such as Pandora) that are elsewhere reported directly by the companies inclusive of artists share. In the light of this change, US performance rights now have a nil value. Historical performance rights revenues have now been restated to reflect these changes and to provide equivalent year onyear comparisons.

Permanent downloads and subscriPtion streams as a % oF total digital revenues 

5

92

Sweden

Source: IFPI

8

5

91

South Korea

12

88

Norway

11

75

Finland

55

USA

14

70

24

Germany

Downloads still account for the bulk of global digital revenues (52%).

82

12

Australia

 Permanent downloads

 Subscription streams income

83

Canada

8

REîoàL îçuE

Mûŝç àéŝ àé ô à éé ŝééŝ  éŝé éŝ  éé çôûéŝ. ïNOH AéîCà, é us à é çéàŝé  àûé  2. é çé. Dà ééûéŝ ôé US$. ô  2 à ô àççôû ô éà ééqûàéŝ ô é éçôé ûŝç àé (). Rééûéŝ çôéçé  sôûEçàé, é ûŝç çéŝ çôà, ô éŝôàŝé ŝéà ŝéçéŝ ŝûç àŝ Pàôà àé ô éôé àŝ à ééûéŝ àé à éôàçé ŝ çôé (ŝéé ôé ô àé 8). Té çôà éôé é ôà àéŝ  àé çéàŝé  àûé  . é çé  2 ô US$. ô. oéà ŝûŝçô çôé çéàŝé  . é çé à àéŝŝûôé ŝéà çôé àŝ û 2. é çé. Téé àŝ à .2 é çé ô  é àûé ô ôôàŝ, ç àççôû ô  é çé ô é à àé. ï Cààà, é ôéà àé é  . é çé,  ŝçà (2.8) à à (.) ôŝ éçéŝ. Làî AéîCàçôûé ô ô ŝô  2,  ôéà éçôé ûŝç ééûéŝ û . é çé àŝ ŝà ŝ à çôé ôŝé à éçé  ŝçà ôà ŝàéŝ. à Aéçà àŝ éé é àŝéŝô éô ô ûŝç ŝàéŝ ô é àŝ ôû éàŝ à ô àéŝ û  é çé ô é ô àé çô àé ô  é çé  2. Dà ô  é éô ôé é àŝ éà à à 2. é çé, çôàé ô à ôà àéàé ô . é çé.

Bruno Mars photo by Kai Z. Feng

Aŝîà ŝà ééûéŝ à  . é “The strength of the industry çé. Téé àŝ ŝô ô  sôû kôéà (.2) à ŝôé ŝàé àéŝ today is seen in the wide ŝûç àŝ Cà (.), ïôéŝà (.), à sàôé (.). jàà ŝà à ranging portfolio of diverse ééûéŝ çéàŝé  . é çé, é  ŝô ŝûŝçô ééûéŝ, û é à businesses operating in the é éçé  . é çé ôéà. ïà çôûéŝ ô ûééô,  à àé market. The consumer is now éçé ô . é çé. EûOéŝà à àé éçé ô .2 being offered an incredible é çé, û é çûé àçôŝŝ ŝ à ôûŝ çôûéŝ àŝ  éŝé. Té à array of music experiences éŝ àé Géà ŝà ô ô . é çé, éé  ŝéà àŝ à à and artists have more ŝôéààéàé à  ŝçà ŝàéŝ. oé àé àéŝ, çû àçé opportunities to reach the (.) à é uk (2.8) ŝà éçéŝ. Téé àŝ ô  sà (.2) à à widest possible audience.” ûé ô ŝàé Eûôéà àéŝ  çû Céç Réûç (.), Déà (2.), ûà (.8), ïçéà (.),francIS KeeIng, gOBa Head Of dIgIta ïéà (8.) à sôàà (.).BUSIneSS, UnIverSa mUSIc grOUp

GLOBAL DIGITAL SALES

+39.0% sûŝçô ŝéà

-8.0% Péàé ôôàŝ

+38.6% Aŝûôé ŝéà

-17.9% Môé éŝôàŝàô

+6.9% Tôà à

9

M st p p lar artists & gl bal bestsellers f2014 IFPI

10

Ed Sheeran photo by Ben Watts

Sam Smith photo courtesy of Universal Music

TOP 0 GLOBAL RECORDING ARTISTS OF 0

Rà

1

2

3

4

5

Aîŝ

TAYLOR SWIFT

ONE DIRECTION

ED SHEERAN

COLDPLAY

AC/DC

Rà

6

7

8

9

10

Aîŝ

MICHAEL JACKSON

PINK FLOYD

SAM SMITH

KATY PERRY

BEYONCÉ

Source: IFPI.The compilation of the IFPI top artist chart has been independently verified through certain agreed procedures by BDO LLP. BDO LLP has verified that IFPI has compiled the chart correctly in line with the outlined procedures. The certain agreed upon procedures carried out by BDO did not constitute an audit review.

Soundtracks and albums comprising of songs from Various Artists have been excluded on instruction from IFPI.

IFPI GLoBàL REçoî Aîŝ o E YEà 2014

Tàô s àŝ àé é ïPï Gôà Réçô Aŝ ô 2, éçé é àûà àà ôôû é ôŝ ôû à éçô àŝ àçôŝŝ ûŝç ô ôàŝ, ŝéà à ŝçà ôà ŝàéŝ ôé. Té Gôà Réçô Aŝ Cà àéŝ ô àççôû é û çààôûé ô éàç àŝ. ï çûéŝ àûŝ, ûŝç DVDŝ, ŝéŝ, éé à àô àûô ŝéàŝ à ŝéàŝ ô ôçà ûŝç éôŝ ô àôŝ ŝûç àŝ YôûTûé à Véô. Té çà éLéçŝ “àç à àû éqûàéŝ” ç çôôàé éàç ô é ôàŝ à çàéŝ. Téŝé àé àé à ûŝ çôé ŝô àéŝ ééé àç ôôàŝ à ŝéàŝ, éLéç éŝàé àéàé é éŝ ô çôŝûô ô ŝéàŝ éàé ô ôôàŝ. Tàô s ééàŝé é î ŝûô àû,1989,  oçôé 2. ï ŝô ôé à .2 ô çôéŝ  ŝ îŝ éé ô ééàŝé  é us àôé, é éŝ éû ŝàéŝ éé ŝçé Eé’ŝEminem The Show 22.

1989àŝô ŝô é ôé, é çô à ô îé   Géà, jàà à é uk, é é àéŝ éçôé ûŝç àéŝ. Té àû’ŝ éà ŝé,Shake It Of, àŝ à ô îé   ôé à 2 çôû éŝ, çû Cààà à jàà, à ŝ àççôà éô àŝ éé ôé à  ô éŝ ô YôûTûé. oé Déçô ôô ŝéçô àçé ô é çà. Té uk/ïŝ à, ô ôé é àûûà ïPï Gôà Réçô Aŝ Cà àŝ éà, ééàŝé é ôû ŝû ô àûFOUR  Nôéé 2. é ŝ ééçéŝŝôŝ, ŝ àû àŝô ôé é bôà 2 çà, ç éàŝ oé Déçô ŝ é îŝ ôû ô àé à é îŝ ôû ŝûô àûŝ éû à é ô ô é us çàŝ.FOUR, ç çôàé é  ŝéŝStea My GiràNight Changes, àŝô ôé é çàŝ éàôà  àéŝ ô Aéà ô é uk. T àçé ŝô ô é Gôà Réçô Aŝ ûô àŝ çàé  ŝéŝôé E sééà, ô é éàŝé ŝ ŝéçô ŝûô àûx  jûé 2. Tŝ ôé é çà  2 çôû éŝ à éàçé é ô îé  à ûé  àéŝ. sô ééàé àx, ç éàûé é  ŝéŝSing,Don’t,Thinking Out Loud àBoodstream, àŝ ŝ ôŝ ŝéàé àû  é ô  2. oé Déçô à kà Pé éé é ô ô àçŝ à éàûé àçôŝŝ ô é 2 à é 2 Gôà Cà.

Taylor Swift with the IFPI Global Recording Artist of the Year award. Photo by Dave Hogan, GettyImages

11