Cover

Masthead

Table of Contents

Editorial, Sat Bisla

All Access

Global News, lucian Grainge, Fremantle Media, Asher Roth

These Reigning Days

Global News, Talpa, Downtown, Ingrooves

Global News, Jay Z, Spotify, UMG

Exclusive Feature, Asia pop 40, Eon Media Group

 Exclusive Feature, Tim Hagan, Rob Graham

Exclusive Feature, A&R Worldwide, Eon Media

Dialekt

WW Radio News, Radio Centre, Talk Sport, Sasikumar

WW Radio News, Barclays, Radio Asia

Passport Approved

 WW Radio News, Cubby, Hubbard, The Independent, KGGi

VIP Executive Profile, Jason fielding, Sat bisla

VIP Executive Profile, The Sound Campaign, Jason Fielding

VIP Executive Profile, The Sound Campaign, Jason Fielding

KIDFORCE

A&R-WW, Epic Records, Virgin Records, Sony Music, Def Jam

A&R-WW, Sony Music, Atlantic Records, Panorama

A&R Worldwide

Global Synch and Brands, MTV, Def Jam

Global Synch and Brands, Coca Cola, Spotify

Falling Off Maps

Know Your Rights, Andrew Sharland, Clintons

Know Your Rights, Andrew Sharland, Clintons

Laneway

Global Management, Backstreet Boys, BMG, Sonny

Global Management, Blue Lemon, Heathers, UTRB

Advertising

Essential Beats,

Essential Beats, Top5,

Retail, George Sadi,CEMA Distribution, Supap Kirtsaeng, Wiley & Sons

Retail, George Sadi, RIAA, MPAA, Stephen Breyer

Retail, George Sadi,CLA, Alma Robinson

Music Registry

Publishing & Copyright, Emmanuel Legrand, David Israelite, Stephen Navin

Publishing & Copyright, Emmanuel Legrand, Pandora, RIAA, MCPS

Publishing & Copyright, Emmanuel Legrand, Harry Fox Agency, Bill Clinton

Global Live News,

Global Live Interview, Neil Cranston, Zero Degrees Events

Global Live Interview, Seven Webster, Neil Cranston, Zero Degrees Events

Reeperbahn Fest

Global Live Interview, Seven Webster, Neil Cranston, Zero Degrees Events

Global Tastemaker Charts

Fake Club

Global Players, Richard Hussein, Lionheart

Global Players, Matt Coleman, Let The People Speak

Eye on You, Vrox, Berlin Music week, iHeart

HHA, Twitter

Techknowlogic,Thom Yorke, Taylor Swift

Techknowlogic, iTunes, Deezer

SoundOff,

XPOSURE, Fredrik Ekander, Craig Kallman, joe Cuello

XPOSURE, Andy GOuld, Jason Flom, Stu Bergen

New Releases

 Music Reviews, Half Moon Run, Maps, In The Valley Below, Fake Club

Gear Up, Slate Digital

Wine 4 split, wine & sounds, Trimbach, Royal Concept, Brown Brothers, Caro Emerald

WTF,

Monks Of Mellonwah

CONTINUED FROM READ MORE

OMFM: Is it a download to my local device, or does Deezer have a distributed architecture where you make my particular collection available on a server closer to my location?
JE: "It's specifically designed to cache the music content on the device. Part of it, also, is for the benefit of network operators, as well. It means, for the most streamed tracks and albums, Deezer subscribers won't be going back across the network to get that audio data; it will be on their device already. It has benefits for the consumer, it has benefits for the mobile operator if we partner with a Telco in a market; it's one of the intuitive features that should be there. And so it is."

OMFM: So, if I'm not using the smart caching feature, and I have a decent connection, it's truly a stream--there's no buffering or delay to it--how does the cache know when to kick in?
JE: "The connection. It is completely transparent and completely automatic. So, the stuff you listen to the most will live on your device, and you'll have access to it wherever you happen to be, regardless of network conditions."

OMFM: If the music I listen to most frequently is cached on my phone, do you track those playbacks in order to pay proper royalties?
JE: "The information relevant to offline playback does get communicated back. Offline activities are reconciled as soon as a user comes back online, to provide an accurate picture of activity. "

OMFM: With so many companies competing in this space--Grooveshark, Spotify, Pandora and more--what's Deezer's competitive edge? When you arrive in the United States, why would I use Deezer instead of a company I may already have a relationship with?
JE: "It's important to point out that some of the companies you listed as competitors aren't actually legal; they're not licensed. So, those ones, I want to set aside. But for the ones that are licensed, I think the simplest answer I can give you is that we focus on editorial. We have a catalog of over 20,000,000 tracks. If you're the most active type of music listener, sure, you might know exactly what you want to listen to on any given day. But we're not interested in only appealing to the music-o-philes and the tech-o-philes; we're interested in being a ubiquitous music service, available to everybody and friendly to everybody. To have editors on the ground in each market, who understand the unique character of each market—every country listens to music a little differently, and even within countries, there are varied music listening habits, depending on territory, language and location—so, our biggest advantage, our calling card, is that we are on the ground in the local markets, and making those recommendations across genres every week, working with the artists, working with the management companies, working with the labels, to make sure the unique character of each market is reflected in the offering in those markets."

OMFM: Are the offerings generally consistent all over the world, or are there indigenous facets? Does Deezer know I'm logging on say, from Africa, and filter the offering accordingly?
JE: "The offering is actually localized, depending on where you are in the world, and that is actually our biggest strength. It is not going to be the same homepage or the same featured playlist or the same radio stations or the same recommendations if you're in Canada versus Denmark, or Australia, or France. It is programmed by humans who care about music, and who often came up in the local music businesses and local music scenes, and they have the right relationships and connections to understand what's bubbling under and developing. We work with developing artists in local territories."

OMFM: There are studies concluding that streaming services offering free listening options may be operating under an essentially cursed business model, as the obligation to pay royalties for every song played, combined with the need for further acquisition of music, won't be offset by the limited paying subscriber base or advertising revenue, even in companies with the ability to continually issue new shares of stock in the interim, as shares become diluted. How has Deezer overcome these growing pains?
JE: "We're profitable in our home market, which speaks to the quality of our offering and the potential in other markets. Because France is not unlike other markets, in that there are a lot of music fans. And they want something that is simple and straightforward, has a lot of depth, and is human-powered. Deezer is all of those things. Over time, the business models of our content partners and the people who have licensed us will change so that everyone is being compensated in such a way that it's a sustainable situation. I can't speak to the long-term sustainability of any of our competitors, I can't speak to how the business models will change to make for a sustainable streaming music model overall, but what I do know is there's a huge swath of the market that has never heard of streaming music, and doesn't realize its potential yet, so, as a global music business, it behooves all of us—us and our competitors and the stakeholders and the rights holders—to communicate the value proposition. Once we get 80-90% of humanity onboard with the idea, then a lot of the questions surrounding the long-term viability of the business go away. Then there's a much bigger pie to divvy up profits or revenues from. As long as everyone--the rights holders, songwriters, artists, labels and management companies--works together, I really don't think that we need to worry. Whatever the situation is now, is not going to be the way it stays. It's going to take a few years to mature, but all of the Chicken Littles saying, 'Oh my goodness, the streaming revenues,' I think that's probably the wrong way to look at it. The same thing happened when download services came out. So, none of us have the answer, and that's okay. Everyone needs to work together, and as the business models of all the different players' progress, we will find a happy medium."

OMFM: Deezer's Bandwagon Tour, where artists performed in a Plexiglas box and fans were issued special headphones to be able to hear the music, sounded unique. Was it a success?
JE: "It was a huge success from a press point of view, a public awareness point of view. A lot of people who hadn't heard about Deezer in the UK before now know all about Deezer. And those are the kinds of things we're going to look to replicate in other markets."

OMFM: Were a lot of people clamoring for headphones that didn't have them? Did it help build a buzz?
JE: "I hesitate to use the word 'frenzy,' but it definitely generated excitement wherever the bandwagon stopped. If you look at that, it's an encapsulation of what Deezer represents. It's a grassroots thing, almost; it's really about music and music fans creating amazing experiences. In this case, it was an offline experience, but using Deezer as the platform. And that's a model we're going to replicate around the world. "

OMFM: What's the Deezer future? How do you see the offering evolving?
JE: "As time goes on, there'll be more than just our editors making decisions about the curation on the service. And the initiative we are pursuing right now to that end is our 'Deezer for Artists.' Deezer for Artists is giving the artists the ability, pretty much as of now, to curate their own space on our platform. Not only can they add additional content and make their space look more like their brand offering, they can also access analytics, so they can see who's listening to their music, where they're from, what they're listening to; it's unprecedented. What that leads to is having the artists become tastemakers and directing their efforts based on data, and that's something that's never happened before. We're already encouraging tastemakers in each market, whether it's DJs or media personalities, to come and curate content with us, but beyond that, it's now the artists themselves who are going to have the ability to come and do that. So, Deezer for Artists is rolling out around the world, and we're very excited about the response we've gotten, which is along the lines of, 'Well, finally this is available!' The artists have been clamoring for it for years, and now it's here."

OMFM: What do you mean by "Curate"?
JE: "Allowing the artist to tell their story using our platform as the tool is what we're going for. We want the artist to be able to tell their story in their way, which is why we're giving them access to this Deezer for Artists information, but I don't think that we're limiting it to our platform. We'd like to be a key part of their story being told in the offline world, in the world beyond our internet borders, as well. We're not interested in being a walled garden; we're interested in being part of an artist's ecosystem."