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FROM MUSIKSVERIGE

The Swedish Music Industry in numbers – Statistics for 2015, as in previous statistical reports from Musiksverige shows the Swedish music industry turnover in terms of revenue generated through legitimate distribution in the domestic and export markets. Industry-specific words and terms can be found at the end of the report.

The report analyzes the Swedish music industry turnover since 2009, with a focus on the past year's revenue trend, based on the three main categories; copyright revenue/proceeds, revenue from recorded music and concert revenue.

Both revenue from recorded music and concert income refers to the entire market and the price to consumers.

Total sales for the overall music industry combined genres include:

  1. Copyright revenue generated when music is performed, for example, on radio, television, internet, or in the background at restaurants, and more. 
  2. Revenue from recorded music which is sold in physical or digital format. 
  3. Revenue from concerts in association with festivals and concerts. 

Furthermore, the report accounts for the revenue split between domestic and foreign sales. Domestic music sales refers to payments for music consumption in Sweden. That means that concert revenue from foreign acts like One Direction or Ariana Grande who performed in Sweden in 2015 are included in the domestic market revenue, while Swedish music performed abroad are reported as export income – in those instances revenue is generated in Sweden Registered companies . Swedish rights holders who have their music played on radio, television or via the Internet abroad constitute examples of copyright music exports. For example, a Swedish music company’s licensing to a party in another country, can be viewed as export revenue for recorded music by the Swedish company.

A working group has provided the data as well as reviewed the report. The working group has, as in previous years consisted of experts tied to member organizations that make up Musiksverige.

Ph.D. Linda Portnoff, Managing Director of Musiksverige, has collated the numbers as well as written the report. Sofia Thurn, project manager at Musiksverige, has overseen the entire project.

Musiksverige has published statistical reports since 2012. Since then, the statistics have been updated annually. The same methods have generally been applied from year to year, providing a comparison over time. In cases where the methodology has been revamped historical data has also been modified to preserve comparability. 

All reports authored by Musiksverige are available at musiksverige.org