Key players from the world of music distribution have spelled out why the sector remains an indispensable part of the modern business.
As revealed in the BPI and Official Charts Company’s Q3 figures, physical music sales are on course for their first annual increase in 20 years, registering a 2.6% year-to-date uptick to 11,656,797 units.
“The spotlight has been on distribution services for well over a decade now and it is essential that we continue to evolve as consumption habits, discovery and client needs also change,” said Ian Dutt, UK president at The Orchard. “We have continued to invest in our world-class technology and increase our global footprint.”
The Sony-owned company, which now operates in 48 markets globally, was involved with three No.1 albums in four weeks in the autumn: the 30th anniversary edition of Oasis’ Definitely Maybe (Big Brother Recordings), Blossoms’ Gary (Odd SK) and Shed Seven’s Liquid Gold (Cooking Vinyl).
The 2024 Music Week Award-winning firm also represents clients such as Raye, Jorja Smith, Skepta and many more.
“Quality distribution is an intrinsic element of any successful music campaign,” said UK & Europe MD Chris Manning, speaking in our recent special report on the scene. “Being very fortunate enough to work with an amazing mix of artists, labels, managers and entrepreneurial individuals, we completely understand that getting the fundamentals right is essential.
“However, we also understand that it is the engine that drives discovery and gets an artist’s music heard by the target audience, at the right time, and in the right places.”
Distribution is vital for the continuance of the ever-growing physical vinyl business
Garry Elwood
Elsewhere, recent highlights for Lasgo Records’ distribution business have included Ist Ist’s fourth album, Light A Bigger Fire, which peaked at No.25 in the UK to give the company its first Top 40 chart entry. Lasgo also struck a worldwide physical sales and distribution deal with Bryan Adams’ Bad Records, which kicked off on November 15 with the limited-edition release of Adams’ Live At The Royal Albert Hall 2024 box set.
“Distribution is vital for the continuance of the ever-growing physical vinyl business,” said Lasgo Chrysalis MD Garry Elwood, who pointed out that the “continued success and growth of Record Store Day also contributed to the need for a solid and reliable physical distribution service.
He pointed out that larger retailers such as HMV and Rough Trade had invested in new outlets, adding that for many music fans there was no substitute for physical music.
“The world is full of collectors, and the fans of music in the UK still want to own that album on CD or cassette,” said Elwood. “Having that in their collection gives kudos. The digital market cannot offer the hugely popular vinyl variants that are being made available and then, of course, the collectors’ boxed sets. To own a CD or vinyl is like owning your own master of that artist’s work.”
Ben Marlow, director at Y Royalties, which specialises in royalties data, rights management, audit and transaction services, contended that the way in which “the majors have moved to further their offerings in distribution services” shows the value of the sector.
Moreover, he observed how distribution factored into the overall evolution of the business.
“Access to distribution as an alternative to a major deal is now a staple of the recorded music market,” he finished. “Providing these services for artists to remain independent and have a global reach is no longer a selling point in itself, so the question is, what else can they do for an artist?”
Ben Patterson, president of Downtown’s artist & label services division, explained that top-notch distribution can help “before, during and after” an artist’s campaign.
“A proper set up and attention to detail on metadata delivers both retailer support and optimisation for algorithmic discovery tools,” he said.
I’m bullish on the future and the opportunity for continued growth in partnership with the creative class and technology platforms in our industry
Molly Neuman
Chris Kröner, president of Downtown stablemate Fuga, stressed a great distributor “understands what it takes to maximise the value of a campaign”, in addition to working “closely with the artist or music company to identify, gather, and elevate all the key elements for success”.
“Throughout the campaign journey, a good distributor continuously monitors progress, identifying and leveraging data points for further promotion and strategic push, ensuring sustained momentum and success,” he said.
Meanwhile, CD Baby, whose operations were merged into Downtown Music earlier this year, served as distribution partner for US singer-songwriter Gigi Perez as she launched her 2024 breakthrough track Sailor Song (532,299 sales, OCC), which topped the UK singles chart at the end of October.
Downtown is set to be acquired by Virgin Music, a deal which is subject to regulatory approval and expected to close in the second half of 2025.
CD Baby president Molly Neuman – winner of International Woman Of The Year at the Music Week Women In Music Awards 2024 – discussed the firm’s recipe for success.
“With our focus on early-career artists, we are aiming to align the artist’s focus on specific platforms that will connect with their target audience of music fans and help their growth and expand their reach once they have established the most solid foundation possible,” she explained. “Working in partnership with both the artist and the digital platform and setting rational expectations, we aim to clear the confusion and identify new and solid opportunities.
“I’m bullish on the future and the opportunity for continued growth in partnership with the creative class and technology platforms in our industry.”
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