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President and Chief Strategy Officer of Cineverse Corp. (Nasdaq: CNVS), overseeing…
Articles by Erick
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The Great Streaming Shakedown: How New Taxes Could Derail the Industry
The Great Streaming Shakedown: How New Taxes Could Derail the Industry
Like recent unpopular efforts in Illinois and California, New York's proposed 4% streaming tax is a shakedown of the…
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Erick Opeka shared thisToday is a big day for Cineverse. What started as an idea over dinner at StreamTV last year led to today’s announcement: our acquisition of IndiCue, a profitable connected TV monetization platform, and another major step in building the infrastructure layer for the modern streaming economy. IndiCue brings a powerful monetization engine into the Cineverse ecosystem. Combined with Giant Worldwide and Matchpoint, we now connect content onboarding, preparation, distribution, performance data, and revenue optimization into a single, unified system. That gives studios, platforms, and rights holders a more efficient way to launch, manage, and monetize content across FAST, AVOD, and CTV, with the automation, visibility, and scalability the industry has been missing. Our tenent is simple: It's for operators, built by operators. This is about building high-margin, recurring, technology-driven infrastructure that sits at the center of how streaming actually operates. I’ve gotten to know the IndiCue team as some of the most innovative and forward-thinking operators in the business, and we’re excited to build with them. Congrats and welcome to Nicholas Frazee, John Marchesini, Yuriy Gorokhov, and the rest of the IndiCue team. I also want to thank Gary Loffredo, Ximena Salazar-Hanna, MBA, Micahel McHugh, Mark Lindsey, CPA, and everyone else who was a part of this journey. https://lnkd.in/eNY_5TJDCineverse Acquires Profitable Connected TV Monetization Platform IndiCue in Transformational Deal, Expanding High-Margin Infrastructure that Powers Modern Content DistributionCineverse Acquires Profitable Connected TV Monetization Platform IndiCue in Transformational Deal, Expanding High-Margin Infrastructure that Powers Modern Content Distribution
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Erick Opeka reposted thisCongratulations to Giant Worldwide on achieving Apple Preferred Plus status for 2026! This is a huge win for the entire team that worked so hard to achieve this. Cineverse and Matchpoint are incredibly proud to be working with you. https://lnkd.in/eKhpsEtJErick Opeka reposted thisExciting News! Giant Worldwide Earns Apple Preferred Plus Status for 2026🎉 We’re thrilled to share that Giant Worldwide has been officially recognized again as an Apple Preferred Plus Encoding House – Video Delivery for 2026, marking our upgrade from Preferred to Plus! This honor is a reflection of our team’s ongoing commitment to excellence, quality, and precision in every delivery to Apple. Being named one of only seven companies in the U.S. to achieve this elite status is an incredible milestone for us. A huge thank you to our talented team and partners for their exceptional work, attention to detail, and passion that help make achievements like this possible. Here’s to another year of innovation, collaboration, and world-class content delivery! 🌎✨ #GiantWorldwide #Matchpoint #Cineverse #ApplePreferredPlus #VideoDelivery #Innovation #Excellence
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Erick Opeka posted thisIf any of you are at ContentAmericas next week, DM or respond here. Would love to meet with you.
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Erick Opeka shared thisI'm pleased to announce Cineverse's acquisition of Giant Worldwide, bringing 20+ years of major studio relationships and preferred vendor status into our Matchpoint ecosystem. The media services industry is a $25B+ global market that still runs largely on manual workflows that are labor-constrained and low-margin. It's the same structural setup that enterprise IT and ad operations had before platform-led automation transformed them. Giant brings our Matchpoint platform critical relationships, operational credibility and scale. Matchpoint brings Giant the AI-native infrastructure to automate what's historically required armies of people: ingest, QC, metadata enrichment, mastering, and delivery across hundreds of platforms. This is our first move in a deliberate consolidation strategy in the space. Our goal is simple: acquire trusted legacy operators, transition to automated workflows, and scale at software economics. The industry is fragmented and Matchpoint will be leading the charge, bringing the innovation, operational speed, and economics that customers demand. I want to thank Tony Huidor, Michele Edelman, Michelle Thiele, Ximena Salazar-Hanna, MBA, Gary Loffredo, Mark Lindsey, CPA and the entire team at Cineverse for getting the deal over the line. I warmly welcome Meri Hassouni, Mike Nack, and Christopher Jayasinghe and all of the Giant Worldwide team to the Cineverse family. I also wanted to give a special thanks to Jeff Stabenau, who founded and built Giant into the trusted company it is today. https://lnkd.in/eqpH9UMkCineverse Acquires Giant Worldwide and Integrates Service into Matchpoint™ Platform, Bringing Deep Studio Relationships into Its Automated Media Services EcosystemCineverse Acquires Giant Worldwide and Integrates Service into Matchpoint™ Platform, Bringing Deep Studio Relationships into Its Automated Media Services Ecosystem
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Erick Opeka shared thisA lot of people are laughing at microdramas right now. They say they’re too soapy, cheesy, a passing fad, trash even. That’s the kind of language people use about every new storytelling format that emerges. Charlie Chaplin once said, “The cinema is little more than a fad. It’s canned drama. What audiences really want to see is flesh and blood on the stage.” And when television arrived, 20th Century Fox’s Darryl Zanuck predicted, “People will soon get tired of staring at a plywood box every night.” Twenty years ago, when YouTube first began scaling, Mark Cuban famously said, “Only a moron would buy YouTube.” We know what happened in all of these cases - audiences won, and the pundits changed their tune. Every successful new format starts out underestimated, and gatekeepers point and scream. Then it changes everything. The Hollywood Reporter just covered our work in this space, and the momentum is real. Based on the data we’re seeing, this is a transformative format that puts professional grade productions smack into the middle of where the audience is migrating: the vertical screen. We believe based on our own data and trends that microdramas could mature into 15-20 percent of all professionally consumed content. in China, the format was derided by the mainstream media industry as "fast food" as recently as 2021. Fast forward to today, and half a billion people of all ages, genders and incomes ravenously consume them every month. Dismiss this format at your peril. What excites us my team the most is how this emerging format will interplay with high-value formats like cinema and streaming. this to me is the real value of the format: how it changes the attention flywheel — where stories at every scale fuel one another and build fandom and engagement. I'm proud of my team as we build toward that future. stay tuned. https://lnkd.in/eDYmFRGB
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Erick Opeka shared thisI’m proud to share that our team has been entrusted with bringing one of modern cinema’s greatest masterpieces, Pan’s Labyrinth, back to audiences. A film that fuses the harsh realities of war with haunting beauty and imagination, it received the longest standing ovation in Cannes history, 22 unforgettable minutes, and continues to inspire nearly two decades later. it's message is more relevant now than ever. We’re thrilled to present this timeless classic in premium large format, giving a new generation the chance to experience Guillermo del Toro’s vision as it was meant to be seen: on the big screen. Stay tuned for some exciting events, partnerships, and festival announcements coming next year as we celebrate this extraordinary film.Guillermo del Toro’s ‘Pan’s Labyrinth’ Acquired By Cineverse; 20th Anniversary Re-Release Set For 2026Guillermo del Toro’s ‘Pan’s Labyrinth’ Acquired By Cineverse; 20th Anniversary Re-Release Set For 2026
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Erick Opeka reposted thisErick Opeka reposted thisHeaded to Content Americas? Join this can't miss insight session into the next big thing in short form content.MicroCo execs to deliver keynote for Create track at Content Americas | CineverseMicroCo execs to deliver keynote for Create track at Content Americas | Cineverse
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Erick Opeka shared thisThrilled to finally share what I've been working on in stealth with Lloyd Braun, Jana Winograde, Chris McGurk and soon, Susan Rovner. We’re building the first real US leader in the multi-billion dollar microdrama market. We have some game changing ideas and tech that we believe will completely transform the space. Huge things ahead...A Hollywood Start-Up Targets the Micro Drama CrazeA Hollywood Start-Up Targets the Micro Drama Craze
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Erick Opeka reposted thisWe will be at the #StreamTVShow this year! Will you?Erick Opeka reposted thisWe’re thrilled to welcome Cineverse as a Diamond Sponsor of #StreamTVShow 2025! Cineverse is a global streaming technology and entertainment company with one of the world’s largest portfolios of owned and operated streaming channels, all powered by its advanced, proprietary technology platform. 📍 Meet them in Denver, June 11–13, at StreamTV Show, the ultimate gathering for the streaming television industry—bringing together top executives, content directors, technology leaders, and marketing visionaries. Advance Rate ends May 16—register now! https://lnkd.in/d9FTsN3 🔗 Learn more about Cineverse: https://www.cineverse.com/
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Erick Opeka liked thisErick Opeka liked thisBig move in the future of indie filmmaking. Nocturnal Entertainment officially launched with a model combining financing, virtual production, and Unreal Engine workflows to help creators move faster while keeping more creative control. Founders Keaton Heinrichs and Akiva Nemetsky are building alongside partners like NantStudios after the Netflix acquisition of "Play Dead." What stands out is the focus on giving filmmakers studio-level production capabilities without the traditional studio system. Virtual production is quickly becoming a real competitive advantage across entertainment, technology, and media. 🔗 https://lnkd.in/gZG8p9vK Follow us on LinkedIn for more updates and insights.Following Massive Netflix ‘Play Dead’ Sale, Nocturnal Entertainment Officially LaunchesFollowing Massive Netflix ‘Play Dead’ Sale, Nocturnal Entertainment Officially Launches
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Erick Opeka reacted on thisErick Opeka reacted on thisCineverse is proud to bring PAN'S LABYRINTH back to Marché du Film - Festival de Cannes for its 20th anniversary. The film originally earned a historic 22-minute standing ovation, the longest in the festival's history. Guillermo del Toro's masterpiece screens May 12 in a new 4K restoration, personally overseen by del Toro himself. Read more at https://lnkd.in/gw7gYDwW
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Erick Opeka liked thisErick Opeka liked thisJoey Jia built an entire category before most knew it existed. When he founded Crazy Maple Studio in 2017, microdramas didn't even have a name. ReelShort changed that, becoming the breakout app that proved vertical storytelling could scale globally. On June 3 in Los Angeles, Joey joins the Vertical Media Summit for the only fireside chat of the day. I'll be in conversation with him, founder to founder, about where microdramas and vertical video go next: → Beyond romance and other popular genres → Beyond IAP → Into ads, subscriptions, new genres → The role AI plays in what's coming The summit's premise: vertical video is the third audiovisual language. Film built the grammar. Television scaled it across decades. Vertical is something genuinely new, with its own economics, aesthetics, and audience psychology. Most of it is still up for grabs. Joey was there at the very beginning. The industry wants to know his views on what happens next. Limited seats. Loft at the W Hollywood. Early bird tickets until May 8 (link in comments). Thank you to our sponsors East West Bank and Talent Systems, LLC.
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Erick Opeka liked thisErick Opeka liked thisI adore everyone involved in this project and am so ready to bring this vivid, magical story to life... #Cannes2026 Lets goooo....!! Matthew Shreder Jack Sheehan BCDF Pictures Archetype Media Finance claude dal farra 🤩 💝 🎬 💃 https://lnkd.in/gCp5sS3QLucy Hale To Star In Romantic Fantasy Film ‘Vision Board’ — Cannes MarketLucy Hale To Star In Romantic Fantasy Film ‘Vision Board’ — Cannes Market
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Erick Opeka liked thisErick Opeka liked thisHere we go again, the 15th film in the Air Bud franchise. After nearly three decades, Air Bud Returns will be showcased at CinemaCon. We’ll be offering a sneak peek of the film for exhibitors and media in the Barco Theater on April 14th. We’re bringing our fans home to Fernfield—“where anything is possible.” Air Bud Returns is a relaunch: an all-new story with new characters, built on the DNA of the original. We made this film for our multigenerational audience that grew up with Air Bud and is now bringing the next generation to discover the beloved golden retriever. And yes… there’s "still no rule that says a dog can’t play basketball" See you in Vegas.
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Erick Opeka liked thisErick Opeka liked this“Iron Lung” was the movie that launched a hundred meetings. Markiplier recently told his YouTube subscribers on livestream that he spent the last three months meeting with every permutation of a Hollywood studio. "They all wanted to know the same thing," he said. "'How’d you do it? Where the hell did you come from? How did you get in my house?'" Can’t fault their curiosity, but boy they’re asking the wrong questions. It gives flashbacks to Kevin Smith, who became a Hollywood cult hero three decades ago with “Clerks.” Some people took the wrong lesson from Smith’s success, believing it meant they could skip film school and make a movie for $25,000 that would be acquired by a major distributor. Then, as now, the more useful question isn’t even one that the heroes can fully answer: What that success means, and who's right behind them. That’s what Markiplier’s trying to figure out now. He wanted to handle the digital release of “Iron Lung” on YouTube, his home team. Was told he couldn’t, he needed to go through an aggregator. As you might imagine, any company would fight for that privilege but there’s no deal that meets Markiplier’s bar — i.e., “I control my movie.” So after an “arduous legal battle,” with YouTube, up to and including CEO Neal Mohan (“I faced off with him in a mud pit,” he said. “We were both wearing loincloths. This is just the way he works. I was like, "Whoa, this is strange,” but Neal was like, "You got to do this. If you wanna if you want to talk to me, you got to earn it.”), he won. He’ll sell “Iron Long” as a YouTube digital exclusive. But why this is worth examining is what he’s pushing for next. Markiplier wants to become an aggregator himself, and beyond that, to advocate for a system where any filmmaker could access YouTube distribution without the intermediary. “I would love to fight to build the system where anybody could do it right,” he said. “There should be a system where people are able to just do it almost as easily as making YouTube videos.” Feasible? Aggregators handle real complexity. But while Markiplier is an edge case, he won’t be the last. As to whether that’s a problem or an opportunity, it depends on where you sit. And that is the question Hollywood should be asking. I break it down in this week’s In Development. Link in comments. Even better, subscribe. https://lnkd.in/g8Qc6mAk
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Erick Opeka liked thisErick Opeka liked thisI still remember that moment like it was yesterday— “Congratulations, you’ve been selected for CINEDIGM.” From Moon di : a single sentence… but it changed the direction of my life. I walked into CINEVERSE carrying uncertainty, leaving behind a place that didn’t align with who I wanted to become. What I found here was more than just a job — it was a space to grow, to learn, and to believe in myself again. I started as a Trainee Graphic Designer. With time, trust, and relentless effort, that journey unfolded— Trainee Graphic Designer to Junior Graphic Designer to Graphic Designer and now Creative Visual Designer. Today, as I step into this new role, I can’t help but pause and take it all in. This isn’t just a promotion. It’s years of late nights, learning curves, silent battles, and small wins adding up to something meaningful. It’s a moment that brings tears to my eyes — and pride to my family. CINEVERSE didn’t just give me a role, it gave me a path… and the courage to walk it. Deeply grateful for the people who believed in me and stood by me throughout this journey: And thank you, CINEVERSE — for being more than a workplace, for being a turning point. #Gratitude #CareerJourney #Growth #Cineverse #CreativeLife #Milestone
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Erick Opeka liked thisErick Opeka liked thisRinging the NASDAQ bell to celebrate Roku's 100 million streaming households was truly unforgettable. I'm newer to the Roku family so I can't take any credit for this amazing milestone, but I'm so thrilled to contribute to a platform that's redefining how people connect with content.
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Erick Opeka liked thisErick Opeka liked thisWe're thrilled to welcome Laura Morrison to Cineverse as Vice President, Business Development. Laura brings deep, end-to-end CTV expertise — spanning FAST, AVOD, SSAI, programmatic, SPO, and measurement — along with an established book of relationships across SSPs, DSPs, OEMs, platforms, and agency buyers. She was recognized as a 2025 Top Woman in Media & Ad Tech by AdMonsters/AdExchanger. Laura joins at an exciting moment for Cineverse. Her focus on unlocking value from underutilized supply and driving yield, fill rate, and net CPM is a direct fit for what we're building. If you're heading to POSSIBLE in Miami next week (April 27–29), Laura will be there — reach out to connect. #AdTech #CTV #FAST #StreamingTV #AVOD
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Education
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Volunteer
Westside German Shepard Rescue
- Present 10 years 2 months
Animal Welfare
Projects
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Dove Channel
See projectDove Channel is a digital-first entertainment network providing safe, values-based programming for families to enjoy together. Dove Channel’s programming is made up of thousands of hours of films and television, all approved by the Dove Foundation and ranks as the largest library of values-based content in the streaming marketplace.
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CONtv
See projectCONtv is the first digital entertainment network celebrating the fandom community. The network features everything from quirky original series, elusive cult films & television shows, celebrated genre movies encompassing sci-fi, horror, fantasy, anime, grindhouse, martial arts action, and exclusive live coverage of Comic Con events nationwide, all available on-demand either in a free, ad-supported format or a subscription-based model for premium content.
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Sundance Artists Initiative
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See projectThrough an exclusive aggregation arrangement with New Video, Sundance alumni filmmakers can now make their films available online to consumer markets via digital retail outlets from Apple, Google, Netflix, and Amazon, among others. The program is highly collaborative and allows filmmakers to retain ownership of their work and make independent decisions about strategies for each outlet. New Video will work closely with digital stores and filmmakers to reach each film's audience, while in turn…
Through an exclusive aggregation arrangement with New Video, Sundance alumni filmmakers can now make their films available online to consumer markets via digital retail outlets from Apple, Google, Netflix, and Amazon, among others. The program is highly collaborative and allows filmmakers to retain ownership of their work and make independent decisions about strategies for each outlet. New Video will work closely with digital stores and filmmakers to reach each film's audience, while in turn, the Sundance Institute will endorse their availability through its own marketing and promotional efforts and through the vast social community developed over the course of the Institute’s 30-year history.
Honors & Awards
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40 Most Important People In Streaming
Mediaplay News
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2016 Digital Driver
Home Media Magazine
Home Media Magazine recognizes the high-level strategists at the forefront of that digital landscape responsible for shaping the industry as it continues to evolve.
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Next Gen 10 - Entertainment
C-Suite Quarterly Magazine
C-Suite Magazine's list of promising executives, entrepreneurs, and entertainers whose collective list of accomplishments is already illuminating the region anew.
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International Academy of Web Television
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🗝 Emilio García
#AI #WMG #UMG “Robert Kyncl has published a letter to Warner Music Group shareholders that pushes back against any under-appreciation of WMG’s value in the financial market, while talking up AI’s potential to drive that value higher. Recent context is important: despite healthy commercial momentum, both WMG and Universal Music Group shares are currently trading significantly below their 52-week peaks. Last Tuesday (February 24), a telling analyst note from Rothschild & Co Redburn argued that music rightsholders are particularly “exposed” to threats from AI-generated content….” “He writes: “With #Deezer reporting that more than 60,000 AI tracks are uploaded to its platform daily and with seven million #tracks generated per day on #Suno alone, [AI music’s] abundance has prompted understandable concern about oversupply, dilution, and the long-term value of recorded music….” Read the article for more: #WarnerMusicGroup #RecordedMusic #UniversalMusicGroup #MusicRoyalties #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz #CreatorEconomy #CreatorsRights #RightHolders #MusicRights #MusicIncome #SongRights #RecordingRights #GenerativeAI #AIGeneratedContent #ArtificialIntelligence #InteligenciaArtificial #IA #InteligenciaArtificialGenerativa #IntelligenceArtificielle #KünstlicheIntelligenz #GeAi #AIGovernance #AIModels
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Johan Kim
Warner Bros. Discovery isn’t the story. The media operating system is. • This showdown is a fight between theatrical preservation and streaming sovereignty. • A Netflix-WBD outcome likely accelerates the fastest collapse of U.S. syndication economics in decades. • When syndication weakens, local stations and cable ad models lose their last durable cash engine. • The hidden casualty is ecosystem diversity: WBD has supported content breadth across FAST and multi-platform mixes. • A Netflix absorption could compress that breadth into a single-platform gravity well. • If Paramount wins: three-horse era (Netflix–Disney+–Paramount+). • If Netflix wins: one-strong, one-mid, two-weak (Netflix 1-strong, Prime /Disney+ 2-mid, Peacock/Paramount+ 2-weak). • For Korea/Asia, a Netflix-WBD deal may tighten regional rights and incentivize global-slate efficiency over local optionality. This is less about ownership and more about what media pluralism still looks like after consolidation.
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Elena SUNBEAM
Kazakhstan Launches First-Ever Local Streaming Platform with Original Premieres and AI Power. Kazakhstan's Uni-Q Group has launched Unico Play, the country’s first-ever local streaming service, signaling a major step forward in digital content access and cultural representation. The platform launches with six original series, over 20 more in production, a library of Kazakh cinema classics, children’s programming, and popular Turkish and Korean dramas dubbed into Kazakh. Uni-Q Group also revealed that Unico Play is heavily powered by AI, with a localization engine capable of processing up to 600 hours of translation, dubbing, and subtitling into Kazakh per day — a first for the region and a clear sign of Kazakhstan’s ambition to localize global content and export its own. Our next market: World Content Market - Moscow 2025 Autumn (26-28 November 2025, Amber Plaza Hall) #worldcontentmarket #televisionmarket #digitalcontent #content #b2b #televisiondistribution #TVindustry #TVbroadcasting #Television #Contentindustry #TVcontent #TVseries #Contentdistribution #Contentproduction
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Erick Opeka
Today is a big day for Cineverse. What started as an idea over dinner at StreamTV last year led to today’s announcement: our acquisition of IndiCue, a profitable connected TV monetization platform, and another major step in building the infrastructure layer for the modern streaming economy. IndiCue brings a powerful monetization engine into the Cineverse ecosystem. Combined with Giant Worldwide and Matchpoint, we now connect content onboarding, preparation, distribution, performance data, and revenue optimization into a single, unified system. That gives studios, platforms, and rights holders a more efficient way to launch, manage, and monetize content across FAST, AVOD, and CTV, with the automation, visibility, and scalability the industry has been missing. Our tenent is simple: It's for operators, built by operators. This is about building high-margin, recurring, technology-driven infrastructure that sits at the center of how streaming actually operates. I’ve gotten to know the IndiCue team as some of the most innovative and forward-thinking operators in the business, and we’re excited to build with them. Congrats and welcome to Nicholas Frazee, John Marchesini, Yuriy Gorokhov, and the rest of the IndiCue team. I also want to thank Gary Loffredo, Ximena Salazar-Hanna, MBA, Micahel McHugh, Mark Lindsey, CPA, and everyone else who was a part of this journey. https://lnkd.in/eNY_5TJD
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Tony Huidor
Today’s acquisition of IndiCue marks a transformative day for Cineverse. For the last decade, our shared vision at Cineverse has been to establish a next-generation studio specifically built to compete in the modern streaming era, this isn't an easy task and doesn't happen overnight. It happens piece by piece... Today's announcement brings us closer to fulfilling this vision. There is substantial value this acquisition brings us, it places us in a very unique position within the industry were we now control the underlying data pipes from end-to-end. This means that everything we do during the content mastering process, as it relates to metadata enrichment, can now make its way through the entire supply chain and flow all the way to the ad platform and subsequently to our back-end AI content analytics & reporting platform. Contextual advertising has been attempted by various companies over the years with limited success. A big part of their inability to bring an effective solution has been due to the highly fragmented nature of the media supply chain that precedes the monetization end-points. We believe we can solve this problem and are excited to bring cutting-edge innovation to the advertising ecosystem. A huge congratulations to the IndiCue leadership team consisting of Nicholas Frazee, John Marchesini and Yuriy Gorokhov! Congrats to the entire IndiCue team and a hearty welcome into the Cineverse family! #cineverse #matchpoint #indicue #adtech #ott #videostreaming https://lnkd.in/gySsEJbZ
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iambeastnetwork iambeastradio
"iambeastnetwork expands global reach with launch on Roku & Amazon Fire TV". iambeastnetwork/iambeastradio founded by Andre "The Beast" Crayton, is proud to announce its official launch on Roku and Amazon Fire TV devices. This expansion places the iambeastnetwork and iambeastradio network’s diverse catalog of programming into over 90 million Roku households and 250 million Fire TV devices globally. Operating on Roku & FireTv Devices, the network features a powerhouse lineup including The Miller Experience Xcalibur Miller, Jessica Javens Talk Podcast, The Psych With A Mic Jennifer Paweleck Bellingrodt, Change The Narrative Podcast Marion Rivera iambeastnetwork remains committed to providing a platform for voices that inspire, educate, and entertain. Users can now add the iambeastnetwork channel directly from their device’s app store. Search 🔎 iambeastnetwork Pluto TV Samsung Networks Paramount Tubi Crackle Disney Experiences Plex, Inc. Hulu Starz CBS Fox Networks Group NBCUniversal Netflix
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Guillaume Therien
Creative tech is crossing the chasm—again. The vocoder started as wartime telecom tech, built to compress and encrypt human speech. Today? It’s a defining sound in music. Thanks to Montréal favorite Chromeo!!! That’s the pattern: 👉 Utility → Experimentation → Culture → Industry standard We’re now watching the same arc play out across AI, spatial computing, and generative tools. What began as “creative tech” is becoming core infrastructure in many markets and setting standard in culture. The takeaway: Don’t underestimate tools born at the edge. (And funk never die!) https://lnkd.in/g-PEwCcT
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Rob Jonas
Insights from Luminate's 2025 Midyear Music Report are in! 📈 Global Streaming Continues Surge: Global on-demand audio streams rose 10% to 2.5 trillion in H1 2025. This surge is driven by ex-U.S. markets surging 13% to 1.8 trillion, with streaming accounting for 92% of U.S. music consumption in early 2025. 📉 Album Sales Decline Amidst Streaming Dominance: U.S. total album consumption rose 4% to 558.9 million, yet total album sales declined 6% to 41 million in H1 2025. Digital album sales notably dropped 18% to 7 million, signifying a shift from direct purchases. 💿 Physical Album Sales Show Resilience Excluding Key Artists: While overall physical album sales declined 3% to 34 million, excluding all Taylor Swift products reveals a 6% increase to 32 million. This suggests underlying stability or growth in physical formats for other artists. 🎸 Genre Dynamics Evolve, with Rock Leading Growth: Rock leads U.S. on-demand audio sharepoint growth in H1 2025, with Alt Rock driving volume change across subgenres. Christian/Gospel notably ascended to 7th place in US On-Demand Audio volume. 🤠 Country Music's Strong Performance in Current Content: Country music's Current streaming showed an 8% volume growth in H1 2025, signaling strong performance for newer releases. Conversely, R&B/Hip-Hop's Current streaming volume saw a notable 9% decline. 📻 "Recession Pop" Resurgence Signals Catalog Power: Pop songs from the 2007-2012 era grew 6% in On-Demand Audio volume in 2025, exceeding the U.S. industry's 5% rate. This underscores the enduring streaming appeal of specific catalog content, with top tracks including Bruno Mars' "Just the Way You Are" (92M ODA). ❤️🔥 Super Fans Drive Deeper Engagement & Monetization: 18% of U.S. music listeners are "super fans," engaging in 5+ distinct ways. These highly engaged consumers significantly contribute to artist monetization, evidenced by higher tipping on platforms like Discord and Twitch. 🎮🎧 New Platforms Crucial for Music Discovery & Interaction: Gaming platforms are new avenues for music, tracking over 197 million Global Interactive On-Demand Streams (April-July 2025). Podcasts are also vital, with 37% of listeners playing new albums in their first week. 🎬 Transmedia Strategies and Catalog Resurgence: Transmedia strategies effectively boost music consumption, with artists leveraging film/TV roles (e.g., LISA on HBO's The White Lotus). Music documentaries, like "Becoming Led Zeppelin," are highly effective in revitalizing catalog streams, driving a sustained 23% increase in the band's global ODA, peaking at 40 million. 🤖 AI's Evolving Role in Music Creation and Industry Dialogue: 1 in 3 U.S. music listeners are comfortable with AI creating song instrumentals. Artists openly using AI, like Aventhis, have generated over 5 million global on-demand audio streams since April 2025, highlighting AI's immediate impact on the industry. Access the report in the comments below:
4 Comments -
Paul Pastor
What’s one way to know your prediction hits the mark? When @faultline’s @ Tommy Flanagan writes “we wholeheartedly agree.” In his latest issue, Tommy ponders an important question about the growth of short-form content: will its adoption go behind tier-1 broadcasters to niches streamers? I’d argue AI-driven shorts are a necessity for niche and tier-1s alike who want to compete (and win) against the creator economy. The reality is, viewers need more reasons to stay engaged within broadcasters’ ecosystems. AI-driven shorts give them the velocity and intelligence needed to break viewers’ habits of scrolling through their TikTok feed, and instead staying within their O&O platforms. Simply put, the conversation has moved beyond how to participate in the creator economy to where that economy lives. In 2026, the streaming wars will pivot from a battle over library depth to a fight for the discovery funnel. What do you think?
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