Global Music Streams are Up in 2024

FILE - Bad Bunny performs during “The Most Wanted Tour” at State Farm Arena in Atlanta on May 15, 2024. (Photo by Paul R. Giunta/Invision/AP, File)
FILE - Bad Bunny performs during “The Most Wanted Tour” at State Farm Arena in Atlanta on May 15, 2024. (Photo by Paul R. Giunta/Invision/AP, File)
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Global Music Streams are Up in 2024

FILE - Bad Bunny performs during “The Most Wanted Tour” at State Farm Arena in Atlanta on May 15, 2024. (Photo by Paul R. Giunta/Invision/AP, File)
FILE - Bad Bunny performs during “The Most Wanted Tour” at State Farm Arena in Atlanta on May 15, 2024. (Photo by Paul R. Giunta/Invision/AP, File)

Halfway through the year, a few music trends have become apparent: Global music streams are up, Latin music has become the fastest growing streaming genre in the United States, and physical album variants — multiple releases of the same — are on the rise.

Going Global The global music industry surpassed 1 trillion streams at the fastest pace, ever, in a calendar year, Luminate’s 2024 Midyear Report has found. The number was reached 10 days faster than in 2023, according to The AP.

Global streams also increased 15.1% with 2.29 trillion on-demand audio streams, up from 1.99 trillion at this point last year.

The continued Latin music boom People everywhere are streaming more music, and in the US, Latin music has become the fastest growing streaming genre, up 15.1% from this time last year. Latin music streaming also leans the most current — 35% of all Latin streams in the US are for albums released in the last 18 months. Compare that to rock music, where 70.5% of streams in the US are from deep catalogs — releases that are 5 years old, or older.

There are no Latin artists featured in the top 10 albums or songs of the year to date, but Bad Bunny, Peso Pluma, Fuera Regida, Karol G, Rauw Alejandro, Aventura, Carín León are among the top 200 most streamed artists in the US for the first half of 2024.

Last year, Latin music was among the top three fastest growing genres in the US, says Jaime Marconette, Luminate’s vice president of music insights and industry relations. The 2024 figures illustrate a continuation in that trend.

“A huge part of that growth was driven by the continued rise of regional Mexican music, which is the largest Latin music subgenre so far this year with more than 13 billion US on-demand audio streams,” Marconette told The AP.

And while the Puerto Rican artist Bad Bunny remains “the biggest-streaming Latin music artist in the US,” he says the three other Latin artists who crossed over 100 million US. on-demand audio streams throughout the first half of 2024 are regional Mexican acts: Pluma, Fuerza Regida and Junior H.

Physical albums aren't going anywhere It's not just the streaming economy on the rise.

Physical variants of albums — multiple releases of the same album, sometimes containing different bonus tracks or featuring a different design — have steadily grown in popularity since 2020.

In 2024, physical album sales increased 3.8% in the US over this time last year, climbing to 24.7 million from 23.8 million, the data and analytics company found in its report.

But it’s not just any artist creating more physical variants of their releases. The artists who’ve had the top 10 bestselling albums so far this year have also had the highest average number of variants. That includes Taylor Swift, Billie Eilish and Beyoncé, as well as K-pop acts like Tomorrow x Together, Ateez and TWICE.

In 2024, the average number of variants for a top 10 bestselling album is 22: seven different vinyl releases, 13 CDs and two cassettes.

For albums in the top 101 - 500 rankings, there's only about five variants per release, and for 501 - 1,000, there's an average of four physical variants.

“We have seen a consistent trend in recent years where albums at the top of the charts employed more and more physical variants in their album release campaigns," says Marconette.

However, “there has also been criticism within the artist and fan communities regarding the environmental impacts of producing so many physical products,” he says, suggesting there is "a clear demand for recycled materials and other sustainability initiatives in this space.”



‘Despicable Me 4’ Reigns at Box Office, While ‘Longlegs’ Gets Impressive Start

 This image released by Neon shows Maika Monroe in a scene from "Longlegs." (Neon via AP)
This image released by Neon shows Maika Monroe in a scene from "Longlegs." (Neon via AP)
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‘Despicable Me 4’ Reigns at Box Office, While ‘Longlegs’ Gets Impressive Start

 This image released by Neon shows Maika Monroe in a scene from "Longlegs." (Neon via AP)
This image released by Neon shows Maika Monroe in a scene from "Longlegs." (Neon via AP)

Gru and the minions celebrated a second week in first place at the North American box office this weekend, while a small horror movie called “Longlegs” upset the starry $100 million "Fly Me to the Moon."

The supremacy of “Despicable Me 4” was hardly a surprise, as the Universal and Illumination franchise added $44.7 million and pushed the film over $200 million, according to studio estimates Sunday. But the big upset came further down the charts with “Longlegs ” more than doubling the debut of the Scarlett Johansson and Channing Tatum romantic comedy “Fly Me to the Moon.”

“Longlegs,” an original horror about a serial killer starring Maika Monroe and Nicolas Cage, made an estimated $22.6 million from 2,510 theaters. That’s the best ever start for indie outfit Neon (most famous for releasing the Oscar-winning “Parasite”), which acquired the $10 million film for distribution. Written and directed by Osgood Perkins, “Longlegs” also scored the best opening for an R-rated film this year.

Neon deployed an innovative marketing strategy for the film, including touches like placing cipher messages in local newspapers and posting a Los Angeles billboard with a phone number that played an “unnerving” message. In its first 48 hours, the number received over 250,000 calls.

“Longlegs” was well-received by critics (it has an 87% on Rotten Tomatoes), but audiences gave it a less enthusiastic a C+ CinemaScore.

“Fly Me to the Moon,” an Apple Original Films production, launched with only $10 million over the weekend. It trailed holdovers “Inside Out 2,” in third with $20.8 million; and “A Quiet Place: Day One,” in fourth place with $11.8 million.

Sony distributed “Fly Me to the Moon,” the Greg Berlanti-directed film about a marketing executive brought in to sell the space race to the American public, and, later, stage a fake moon landing just in case. Apple has not yet announced when it will debut on its streaming service.

The movie opened in 3,356 locations this weekend, attracting an audience that was mostly over 45. In this case, the audience was kinder than the critics, giving it an A- CinemaScore against a 67% on Rotten Tomatoes, suggesting that word-of-mouth may work in its favor over the long run.

The year-to-date gap between box office performance this year and last is getting moderately slimmer. It's now down 16.1% from 2023 thanks to a run of recent successes. But performance still pales in comparison to pre-pandemic standards. On July 14 in 2019, the annual box office take was at $6.2 billion. This year it’s at $4.1 billion so far.

“A very unpredictable summer movie season continues,” said Paul Dergarabedian, the senior media analyst for Comscore. “And after a slow start in May (it) has continued to surprise and impress with expected as well as unexpected hits adding bottom-line dollars to the industry’s most important season.”

In limited release, A24 opened “Sing Sing,” an early Oscar contender, in four theaters in New York and Los Angeles. With sellouts in both locations, it made $137,119, one of the best limited openings of the year.

The film from director Greg Kwedar is about an arts program at the prison and features many real life participants, including Clarence Maclin in his film debut. “Sing Sing” will continue playing on four screens through July and expand nationwide in August.

Finally, “Twisters,” which opens in North America on Thursday, began its international rollout this weekend, earning $11.5 million from 38 markets including in Australia, Mexico and Brazil.

In its wake comes “Deadpool & Wolverine,” the first Marvel release of the summer.