James Harding, Business Editor
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The new managers at EMI make Eric Nicoli, the former biscuit executive who has run the company for the past eight years, look like an impresario with the musical talent of a Daniel Barenboim and the street credibility of Keith Richards.
Terra Firma, the private equity group run by the karaoke enthusiast Guy Hands, has brought in Chris Roling, who ran finance, procurement and logistics at the chemicals group ICI, to oversee the business, backed up by Ashley Unwin, previously of Deloitte Consulting, who will see if the regional music bosses are up to the job. The implication, of course, is that what EMI needs is a little less enthusiasm for rock’n’roll and more of a focus on the P&L. But is a little grown-up executive supervision all that it will take?
Mr Nicoli’s departure from the music group was overdue. He had been with the company for more than a decade, seeing off two executive teams in recorded music and ultimately installing himself as chief executive. He watched as the value of the company fell to just over one quarter of what it was at the height of the dot-com boom. And he engaged in deal discussions half a dozen times only to see them come to nothing. EMI will, no doubt, benefit from fresh leadership.
But the new management may soon look at Mr Nicoli’s record at EMI with sympathy, even respect. Running a record company today does not simply involve managing decline, but freefall. The sale of CDs and DVDs fell by 20 per cent in the first half of the year. The growth in digital music revenues, which were growing at 45 per cent, have slowed to 13 per cent. Mr Nicoli managed the manageable part of the business - music publishing - with some success. It is striking that the only executive from the old management team who is staying is Roger Faxon, who was Mr Nicoli’s appointee to run Music Publishing. It was the parts of the business being displaced in new ways every day by everyone from iTunes to Starbucks, Napster to YouTube that he struggled with. Looking across the Atlantic at Warner Music, which is worth a third of what it recently was, it is clear that the problems go beyond management. These days, it is hard to know what good looks like in the recorded music business.
The next set of management will not be tripped up by the regulators in the way that Mr Nicoli and his colleagues were. The European Commission foiled several of EMI’s attempts to merge and grow. Not only EMI, but the music industry as a whole suffered from the outdated notion of competitive dominance in a market that is sprouting new forms of competition every day.
Mr Nicoli must have smiled yesterday as he passed the baton.
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The record industry "free-fall" has not one but an array of reasons, but probably the lack of adaptation to new market and technological conditions, coupled with a stuborn insistence on using resources and influence trying to keep unreasonable profits by changing the regulatory environment, are the main of the multiple causes. The industry keeps repeating the fallacious argument that is loosing billions due to piracy, when those billions are calculated imagining that for every unauthorized copy of a song a legitimate purchase is displaced (what is remotely far from the truth). It also compares itself with the 1990s, where a conjunction of circumstances created a boom for the recording industry (like people replacing old collection with CDs and a stream of very good artists). By wrongly blaming copyright infringement for the industries woes, record companies did not do their homework adapting to new technologies and downsized to a more rational and competitive market
Fernando Barrio, London, UK
I think you are being rather kind to the music business and really it's more about price. It used to be exceptionally profitable and maintain its huge margins by all sorts of clever means, but mostly by controlling distribution. All superprofit situations attract others who are prepared to find a way to get a slice by doing it cheaper. They won't try if there is only 'normal' profitability to go for. What's more, consumers know the cost structure of distribution all too well as they buy their blank CD's to record. If the music industry had been less greedy in the first place it probably would have been running smoothly still, after all, to make a CD only costs around 50p... and downloads are less than that. That leaves a lot for artists, distribution and profit.
colin f, Shrewsbury,
Surely this article should also focus on why on earh Mr. Hands would want to buy such a business?
Jonny, London,
"These days, it is hard to know what good looks like in the recorded music business."
The market doesn't seem to care much about the previous competitive advantages of huge scale publishing operations. Tough nuts I'm sure.
Nice article anyhow. Please consider that you don't have to look hard to see an enormous amount of good happening in many areas of the recorded music business. Recording and distributing music has never been easier (or more fun). Cheers.
Jeffrey Osborne, San Francisco, CA
EMI has lost the technical ability to defend its copyrights. The fact it is still worth anything at all is testimony to Mr Nicoli's management.
Malcolm McLean, Bradford, UK