A couple of days back, one of the leading Indian e-commerce stores, Flipkart launched its digital music store, called Flyte. Flipkart has clearly stood out in the nascent e-commerce market in India, with its quality of services—be it in terms of online experience or more importantly, fulfilment.
The launch of the digital music store, that would enable buyers to download MP3s of albums or individual songs, has the potential to transform the music industry in India, if the company plays it well.
The fact that digital music is increasingly replacing physical media sales is no secret. According to the FICCI-KPMG Indian Media and Entertainment Industry Report 2011, in 2010, digital music sales in India, with an estimated value of Rs 4.2 billion overtook the physical sales, that recorded a total sales of Rs 3.2 billion. Larger companies like Saregama have also witnessed the trend. In FY 11, more than 60% of Saregama revenues came from digital music sales. In fact, two years back, Saregama revamped its e-commerce site and a lot of its tracks are now available for online purchase, with good searchability functions.
So, what does Flyte bring in to the table, when the music labels already make it available on their site? On the face of it, it is the same thing that Amazon brings to the table, even though many publishers sell their books online. It aggregates music from different labels; gives a much better experience to the customers and offers far more interesting pricing models—combining individual track sales, full album sales and some amount of bundling. The fact that many small music publishers as well as some big labels do not have e-coommerce sites of their own only adds to the need of an aggregator like this, Surprising it may sound, Sony Music India does not have a dedicated web site and Universal Music India’s site is not e-commerce enabled!
But that is not the point. When the FICCI-KPMG research points out that digital music will grow more than four fold between 2010 too 2015, clocking Rs 14.8 billion in 2015 or that it will account for 79 percent of total sales by 2015 as opposed to 14 percent in 2006, they have taken business as usual growth—maybe taking into account the growth in digital device usage.
But there is far more that a strong independent digital music aggregator can do. In fact, it can not just disrupt the way music is sold, it can change the way music is published and distributed. There is hardly a better market than music where the Long Tail effect can be more true. For the uninitiated, the Long Tail principle is where the businesses do not need to spend a lot of time and energy in choosing what would be a blockbuster. The cost of storing and delivering is low/almost nil. So, they can virtually sell list anything for selling even if it interests a handful of buyers. The idea was popularized by Chris Anderson, the editor in chief of Wired magazine in his 2006 classic book, The Long Tail: Why the Future of Business is Selling Less of More.
In some cases, people may actually end up choosing a blockbuster. Today, large music publishers do not touch new and upcoming artistes, unless someone somewhere is convinced about their ability to become big hits. So, many good artistes wait for ever for the “opportunity”. In some cases, their work is released by small/local labels, which do not have the muscle and wherewithal to market. Strong digital aggregators give both the enterprising artistes and the niche/small labels to publish their music. The only judge would be the ultimate judge: the public. The role of filters is getting minimized in many areas and music is just fit for that.
In fact, there are some instances of such efforts already happening. Noted singer, Shubha Mudgal and her husband, popular Tablist Aneesh Pradhan, have established a label called Underscore Records and have released works of many upcoming artistes, a lot of which are sold in digital format in their website. It is an effort that is much admired within a small community, but how many of us know about some of the excellent music they have released? Similarly, in Odisha, noted administrator, educationist and popular lyricist Devdas Chhotray has started a new experimentation of setting some of the best poetry to music, with a young but talented composer and singer duo. The market for such work is worldwide where discerning Odias are, and not necessarily in a locality in Bhubaneswar, where you can find it. Digital music—more specifically, an independent digital music aggregator—can take it to Odias in Ohio or Oslo or Ooty, wherever they are. That is nothing short of a revolution.
A strong digital music aggregator like Flyte should be able to help a lot in making this possible. It has already impressed in the way it is designed, presented and the way it has priced. Though some of the problems—such as putting a picture of a Bengali movie poster in an Odia light songs album—that are imported from the original music label remain, those are small problems you can live with for some time.
In fact, one expects that in due time, it would add small films and documentaries too, some of which are never seen by anyone other than the jury of film festivals. The digital aggregator is the perfect medium to make them reach the public. But that is another task, maybe for another day.