Streamer Moodagent wants to compete with Spotify as it expands in New Zealand

Mr Mee said Moodagent is strictly focused on the music streaming industry, while larger competitors such as Spotify focus on the broader audio category, seeking to capture users after podcasts, music and even books. audio.

“We really want to focus on the music and do it in a specialized way that… could be seen as a niche, but also has a little different experiences and functionality. This is our strategy, ”he said.

Mr Mee pointed to reports that the biggest players would lose market share globally – MIDiA Research suggests that Spotify’s global market share fell 2% year-on-year at the end of the first quarter of 2021, losing out of the field against YouTube Music and Amazon Music – as proof of Moodagent’s desirability to attract users looking for something different.

Tom Mee believes that Moodagent has the opportunity to carve out an audience in the Australian market.

“We think it’s a good opportunity. Moodagent is now present in a few markets, so we are also testing what it looks like in different types of markets: India, Denmark, where it is based, and also Germany, with a few others on the roadmap ”, did he declare.

Unlike Spotify, Moodagent does not offer users an ad-supported free version, users can try it for free for 15 days without entering their credit card details and then can extend this trial for an additional 30 days in exchange. of this information.

It will cost users $ 11.99 per month, the same cost for Spotify premium and Apple Music for an individual account.

Mr Mee said Moodagent is focusing on the platform’s editorial offering and engaging with the local and international music industry to “gain support for the music we believe in.”

“Artists themselves can be ambassadors for our products,” he said, adding that Moodagent’s relationship with the music industry was “essential” to its success.

New audiences

“It’s better for the ecosystem. It’s best for growing the music streaming cake in general. But also to prove its value.

“There is a lot of commentary about payments for streaming music payments, but the value exchange needs to have a monetary component, and artists and their teams need to be rewarded proportionately. But also, can you add value by offering different and interesting marketing and promotional opportunities, or new audiences in different markets.

“We have to engage with the industry. We need to listen to what they want in terms of features … and make sure we’re serving them in a way that’s right for them. Engagement doesn’t have to be one-sided – it has to be a two-way dialogue. “

As for the success of Australia’s very tight and competitive music streaming industry – of the 12.7 million Australians who use a music streaming platform, 8 million use Spotify, according to Roy Morgan – Mr Mee wouldn’t put a subscriber figure or revenue on the table, but said Moodagent wanted to be “sustainable in terms of our operations.”

“So pay for our local team and keep it going,” he said.

“We’re here for the long game. We want to find these passionate users and that might not be a huge base to start with. But as we develop the product and listen to them, it will grow and grow. “

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Victor L. Jones