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He said: “The internet has led to a proliferation in TV, film and other audio-visual output, accordingly there are more opportunities for music to be used.
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The label’s head of worldwide sync, Martin Dobson, said TV provided “a robust income stream” and it was only sensible for artists and labels to respond accordingly. Ninja Tune is one of many labels to respond to the increasing demand from TV and other media by launching a division dedicated to production music. The track, which has been streamed almost 200m times on Spotify, hit the No 1 spot after appearing in Netflix’s Orange is the New Black and then again after being featured in NBC’s This is Us. While that deal was exceptional, the royalties and boost to an artist’s profile that use of their music in TV generates is significant at a time when physical sales of music are low.ĭespite being on the independent label Ninja Tune, the British electronic band the Cinematic Orchestra were one of the first acts to top the Hollywood Reporter’s top TV songs chart more than once, with To Build a Home. In 2012, the makers of Mad Men paid the Beatles $250,000 (then about £130,000) for the use of Tomorrow Never Knows. At a time when many critics believe we are living through a golden age of TV, it seems no new drama with aspirations to credibility is complete without a soundtrack to match.Īs content on on-demand platforms such as Netflix and Amazon Prime Video has proliferated, and shows such as Stranger Things, Breaking Bad and Transparent have won acclaim, so fans have rushed to track down the music in their favourite shows.įigures provided exclusively to the Guardian by PRS (Performing Rights Society) for Music, show that the use of music across major on-demand platforms has more than tripled (up 238%) in the past five years – from 145bn minutes in 2014 to 490bn minutes in 2018.