MIDiA Research Blog

AI is not only disrupting search engines but dismantling the way people search across the internet. MIDiA’s Q3 2025 consumer survey reveals that 52% of those who reported using generative AI leveraged these tools to find information. Source

The AI race is well underway, with social media companies going all-in. Meta’s triple-digit-billion investment in the space has pushed its AI developments across the board, from a recent partnership with Overview Energy to power servers with satellite solar (per Social Media Today ), to Instagram�... Source

The persistent growth of “catalogue” music listening is a familiar topic to the industry. In this context, the results of MIDiA’s Q4 2025 consumer survey may not seem so surprising. Just 24% of all consumers report listening to new music the week it is released, on at least a monthly basis, as... Source

Multi-dimensionality in music – that is, engaging in ways beyond simply listening to a song – has existed for decades. In the vinyl era, fans could read liner notes and look at album artwork while listening. Source

It’s that time of year again for the definitive annual assessment of the global electronic music market: The IMS electronic music business report . Premiered at the annual IMS conference in Ibiza, this year’s report paints the picture of a healthy industry with thriving scenes but also a few war... Source

A curious divergence is emerging in the UK's media habits. Earlier this month, Ofcom published its latest report on adults' media use, and one finding stands out. Social media usage remains high, with 89% of UK adults using at least one platform daily. Source

For most of recorded music history, quality was scarce. Recording, producing, and distributing a song that sounded “good” required significant investments of time, money, and skill, along with access to gatekeepers, who carefully filtered what entered the system. Source

The creator economy used to be an adjacent entertainment ecosystem to traditional entertainment. Those days are numbered – if not over already. Creators are now a foundational component in how traditional entertainment produces and distributes content at scale. Source

A lot of attention is being paid to the “rules of engagement” for podcasting: format preferences, video versus audio, and platform battles like YouTube versus Spotify. The industry is deeply focused on how and where audiences are consuming podcasts, and rightly so. Source

American poet Henry Wadsworth Longfellow once proclaimed that music is a universal language. Ironically, perhaps the only part of this universal language that isn’t universal is language itself. In the streaming era, it may seem easier than ever for musicians to reach listeners around the world, a... Source

In today’s fragmented marketing world, artists have to promote more than just their music – they have to build dedicated fandom. To achieve this, more artists are implementing transmedia elements – that is, adapting a brand story across multiple platforms – into their marketing strategies. Source

The playbooks for streaming TV services and creators are collapsing into one – but even so, misconceptions remain. Large parts of the traditional entertainment industry consider the engagement techniques in two lanes. Source

The music industry is seeing unprecedented democratisation in both consumption and creation. Leading execs often point to the rise of consumer creation and the ‘Instagrammification’ of music as a growth engine. Source

There has been a lot of scrutiny recently about how dance music is funded. Two cases in point illustrate why. Boiler Room, the influential livestreaming platform, was acquired by DICE in 2021, then sold to Superstruct, a private equity-backed entity, in January 2025. Source

Expanded rights are quickly becoming the growth engine of the recorded music industry. The category – which includes labels’ participation in revenue streams like merch and live – grew an impressive 21. Source

Social media has fundamentally changed – and the consequences matter whether you’re a consumer, a content creator, a regulator, or a marketer. Here’s why: 1. Social platforms are now passive entertainment Content creation remains a niche activity, and simply posting for friends has become less... Source

2025 was a good year for the recorded music business. After a modestly performing 2024, revenues grew by 9.4% in 2025 to reach $39.5 billion. See MIDiA’s Recorded music market 2025 | Rise of the fan economy and accompanying 12 sheet dataset for MUCH more detail. Source

The attention economy has become the de facto framework for measuring loyalty in the entertainment industry. However, not all attention is equal. While an hour spent scrolling videos on TikTok may compete with an hour spent playing a £70 video game, the depth, value and quality of that engagement a... Source

History is being used to argue both for and against AI, with citations of previous cultural events and practices as evidence. Unfortunately, however, most of the historical references used are just plain wrong. Source

Broadcasters and streamers keep asking how to work more closely with creators. Their standard approach is to commission a creator-led show, cast them in a film, or license their back catalogue for a streaming service. Source