The trade value of sound recordings sold in Canada fell 2.6% in 2005, to $658.6 million from $676.4 million the previous year. Since 2001, the trade value of music sales in Canada has fallen nearly 14%.1
Trade Revenues of Recordings in Canada (millions $CAD)
Source: IFPI - Global Recording Industry in Numbers, 2006
Note: Digital sales included from 2004 onwards
Unit sales in Canada, meanwhile, fell 5.3%, from 60 million units in 2004 to 56.8 million in 2005, after posting a gain of nearly 3% in 2004. Between 2001 and 2005, unit sales fell 11.9%
Sales of Recordings in Canada--Units (millions)
Source: IFPI - Global Recording Industry in Numbers, 2006
Note: Full length formats - CD, DVD, LP, Cassette, Minidisc,
SACD, DVD-A and VHS
The trade value of global music sales, by comparison, dropped 3.3% in 2005,2 to $20.8 billion from $21.5 billion the year before. Since 2001, the value of sales has fallen 17.3% globally. The United States continues to rank first with a $7 billion sound recording market. Japan, whose sound recording market had a trade value of $3.7 billion, and the UK, at $2.2 billion, were the second- and third-ranked countries, respectively. In 2005, Canada was ranked 6th in the world for music sales, with a 3% share of the global market.
| 2005 Rank |
Country | Value (million $US) |
%
of World |
|---|---|---|---|
| 1 | USA | $7,012 | 34% |
| 2 | Japan | $3,718 | 18% |
| 3 | UK | $2,162 | 10% |
| 4 | Germany | $1,458 | 7% |
| 5 | France | $1,248 | 6% |
| 6 | Canada | $544 | 3% |
| 7 | Australia | $440 | 2% |
| 8 | Italy | $429 | 2% |
| 9 | Spain | $369 | 2% |
| 10 | Brazil | $265 | 1% |
| Top 10 Total | $17,645 | 85% | |
| World Total | $20,795 | 100% | |
Source: IFPI - Global Recording Industry in Numbers, 2006
Sales of compact discs in Canada fell 4.2% in 2005, to 52.5 million units from 54.8 million the year before; CD sales are down 13.5% since 2001. Sales of music DVDs, which had shown tremendous growth between 2001 (900,000 units) and 2004 (4.8 million), fell back to 4.2 million in 2005, a 12.5% decrease. Sales in all other physical formats were almost negligible, totaling just 100,000 units in 2005.3
Canadian albums made up 25% of the top 100 albums sold in mass merchant outlets, and 22% of the top 100 albums sold in retail.4 Mass merchant outlets accounted for 31.2% of albums sales in Canada, while traditional music retail stores represented 68.8%5.
As the physical formats decline, the digital track is poised for strong growth, with sales of individual tracks in Canada reaching at least 6.7 million units in 2005, and digital album downloads surpassing 462,000 units, according to Nielsen SoundScan Canada.6
Online music services currently include subscription services, like Napster, which offer tracks for download on a temporary basis,7 and online "stores," like Puretracks, Zik.ca and iTunes, that sell digital music files outright as either individual tracks or as albums. An analysis of the top albums sold in Canada suggests that domestic acts benefit more from sales of digital albums than digital tracks.
Of the top 100 albums sold through Canadian online retailers in 2005, 29% of the titles were albums by Canadian artists.8 Digital track sales, on the other hand, were skewed towards foreign artists, with recordings by Canadian artists representing just 14.5% of the top 200 digital tracks.
Figures for global sales of digital tracks, available for 2004 and 2005, show strong growth led by the U.S. market--though not enough to compensate for the drop in global CD sales.
Downloads of digital tracks reached 419 million units worldwide in 2005, a 169% increase from 2004. Track downloads in the United States alone reached 353 million units in 2005, or 84% of the global market. The International Federation of Phonographic Industry (IFPI) puts the trade value of all paid global downloads at US$1.1 billion in 2005, a 300% increase over the previous year.9
Despite this growth, the IFPI reports that global music piracy remains a concern. It estimates that 37% of all CD purchases are pirate copies, and puts their value at US$ 4.5 billion10. It also estimates that 20 billion songs were downloaded for free worldwide.11
Still, the ongoing boom in broadband and mobile technology bodes well for the digital music market. Just over half of all Canadian households, or 6.4 million households, subscribed to high-speed Internet access in 2005, up from 43% in the previous year. This is only expected to increase, as broadband Internet as of 2005 had the potential to reach 98% of urban and 74% of rural households in Canada.12
The number of mobile phone subscribers in Canada, meanwhile, grew 13.3% to 17 million in 2005.13 Mobile phones may one day rival portable digital devices such as the iPod, as consumers increasingly adopt both mobile handsets with music capability and 3G networks--the mobile equivalent of broadband.14 A lower risk of piracy than online15 and flexible payment options are other attractive features of the medium.
Nielsen SoundScan Canada's top 2000 chart is considered a good proxy for measuring the overall market share of Canadian artists16. The 2000 top-selling albums in Canada lost ground slightly in 2005, with sales of 33.8 million units compared with 34 million the previous year, a 0.7% decline, according to Nielsen SoundScan Canada.17
Following an increase in sales in 2004, albums by Canadian artists in the top 2000 fell 10.3%, from 8.5 million units to 7.6 million. Canadians' share of the top 2000 sales declined from 25% in 2004 to 22.6% in 2005. This can be partly attributed to the absence of new albums by Canada's topselling artists, such as Shania Twain, Céline Dion and Avril Lavigne. Sales of foreign artists in the top 2000, by comparison, rose 6.5% in 2005, to 22.9 million units.
Nielsen SoundScan Top 2000--Album Sales in Canada by Artist Nationality--Units
Source: Nielsen SoundScan
Note: Canadian Heritage determines the nationality and linguistic
profile of artists.
Nielsen SoundScan Top 2000--Market Share of Canadian Artists Sales in Canada
Source: Nielsen SoundScan
Note: Canadian Heritage determines the nationality and linguistic
profile of artists.
Despite the drop in sales, Canadians' share of titles in the 2005 charts stayed steady at 20.5%, with 410 Canadian albums in the top 2000, only one fewer than in 2004. This included 263 titles by English-language artists, five more than the previous year, and 147 albums by francophone artists, six fewer than in 2004. French-language Canadian artists saw unit sales fall 17.3%, from 2.8 million in 2004 to 2.3 million in 2005. Sales of albums by English-language Canadian artists fell 6.8%, from 5.7 million to 5.3 million units.
Nielsen SoundScan Top 2000-- Sales of Canadian Albums in Canada by Language--Titles
Source: Nielsen SoundScan
Note: Canadian Heritage determines the nationality and linguistic
profile of artists.
Nielsen SoundScan Top 2000-- Sales of Canadian Albums in Canada by Language--Units
Source: Nielsen SoundScan
Note: Canadian Heritage determines the nationality and linguistic
profile of artists.
Since 2001, unit sales of the annual top 2000 albums have fallen 20.3%. Despite this, sales of Canadian albums have grown 12.4% over those five years, compared with a 15% drop in sales by foreign artists. In addition, there has been a 62.4% drop in sales of soundtrack albums and compilation from various artists, which fell from 8.7 million units in 2001 to 3.3 million in 2005.
Nielsen SoundScan Top 2000--Album Sales in Canada by Artist Nationality--Titles
Source: Nielsen SoundScan
Note: Canadian Heritage determines the nationality and linguistic
profile of artists.
Canadian artists released 2,434 albums in 2004, 309 fewer than the previous year, an 11.3% drop.18 The number of French-language albums released fell by 135 titles, or 35%, to 252 in 2004, while the number of English-language releases dropped by 174, or 7.4%, to 2,182. Despite this lowered output, the five-year trend still shows 55.5% more Canadian albums released in 2004 than in 2000.
New Albums Released by Canadian Artists--by Language
Source: CMID & SOPROQ
A breakdown by genre of the 2,434 albums released in 2004 shows an increase in albums that defy easy classification. New albums in the"Other" category had a 8.5% share of total new releases in 2004, compared with a 5.2% share the year before. Jazz and Blues, and Classical albums were the only other growth categories, with a 9.4% and 4.6% share of releases respectively, compared with 7.0% and 3.1% the year before. All other categories, while down slightly, maintained the same proportion of representation as in recent years.
| Genre | No. of Recordings | % of Total |
|---|---|---|
| Pop/rock | 1,255 | 51.6% |
| Country & Folk | 343 | 14.1% |
| Jazz & Blues | 228 | 9.4% |
| Urban & Dance | 207 | 8.5% |
| Other | 206 | 8.5% |
| Classical | 112 | 4.6% |
| World Music | 83 | 3.4% |
| Total | 2,434 | 100.0% |
The Canadian Recording Industry Association (CRIA) awarded gold (50,000 units sold) or platinum album status (100,000 units) to 64 releases in 2005, representing the works of 53 Canadian artists. No Canadian recordings that year were accorded diamond status (1,000,000 units sold).
Top certifications went to Simple Plan for Still Not Getting Any... and Glass Tiger's Diamond Sun, (both three times platinum) as well as Kalan Porter's 219 Days, Blue Rodeo's Greatest Hits - Volume 1 and Diana Krall's Christmas Songs (all two times platinum).
Other platinum albums included Funeral by Arcade Fire, Parce Qu'on Vient de Loin by Corneille and En Famille by Mes Aïeux. Gold certifications went to such albums as Bedouin Soundclash's Sounding A Mosaic, Feist's Let It Die, Passe-Partout's Vingt ans ça se fête and Keshia Chanté's eponymous album.
| Gold | Platinum | Diamond | Total | Unique Artists |
|
|---|---|---|---|---|---|
| 1999 | 27 | 41 | 3 | 71 | 56 |
| 2000 | 29 | 29 | 2 | 60 | 51 |
| 2001 | 24 | 24 | 1 | 49 | 40 |
| 2002 | 35 | 35 | 1 | 71 | 54 |
| 2003 | 27 | 14 | 1 | 42 | 35 |
| 2004 | 40 | 35 | 1 | 76 | 59 |
| 2005 | 38 | 26 | 0 | 64 | 53 |
Ten Canadian albums, representing the work of five artists, received certifications in 2005 from the Recording Industry Association of America. Awarded albums include two Michael Bublé albums, including It's Time, both platinum; three Nickelback albums, including Silver Side Up; and two Céline Dion albums, including These Are Special Times. In 2004, US certifications went to 19 Canadian albums, representing 14 artists.
| Gold | Platinum | Total | Unique Artists | |
|---|---|---|---|---|
| 2000 | 6 | 5 | 11 | 9 |
| 2001 | 7 | 8 | 15 | 12 |
| 2002 | 4 | 9 | 13 | 11 |
| 2003 | 7 | 11 | 18 | 13 |
| 2004 | 11 | 8 | 19 | 14 |
| 2005 | 1 | 9 | 10 | 5 |
In the UK, five albums by four Canadian artists received gold certifications in 2005 (representing sales of 100,000 units), with none receiving platinum status (300,000 units). The British Phonographic Industry (BPI) honoured, among others, Funeral by the Arcade Fire, Rock Swings by Paul Anka, and Anthology by Bryan Adams. In France, le Syndicat National de l'édition Phonographique (SNEP) awarded certifications to eight albums by eight Canadian artists, including Reviens by Garou (double platinum, or 600,000 units), On ne change pas by Céline Dion, La good life by K'maro (double gold, or 200,000 units) and Let it die by Feist.
| Gold | Platinum | Total | Unique Artists | |
|---|---|---|---|---|
| 2000 | 0 | 2 | 2 | 2 |
| 2001 | 0 | 1 | 1 | 1 |
| 2002 | 1 | 9 | 10 | 8 |
| 2003 | 2 | 5 | 7 | 6 |
| 2004 | 8 | 3 | 11 | 10 |
| 2005 | 5 | 0 | 5 | 4 |
| Gold | Platinum | Total | Unique Artists | |
|---|---|---|---|---|
| 2000 | 3 | 4 | 7 | 6 |
| 2001 | 2 | 9 | 11 | 7 |
| 2002 | 5 | 7 | 12 | 8 |
| 2003 | 3 | 11 | 14 | 7 |
| 2004 | 6 | 3 | 9 | 9 |
| 2005 | 6 | 2 | 8 | 8 |
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