On September 7, 1988, Sinead O’Connor made a striking US network television debut on Late Night with David Letterman, performing her breakout hit “Mandinka” from her debut album The Lion and the Cobra. Her fierce energy and raw talent stunned audiences, setting her place as THE new voice in music.
Luna Lee Performs Steely Dan’s “Do It Again” On The Gayageum
Luna Lee took Steely Dan’s “Do It Again” to a whole new level, layering both the instrumental and vocal parts on her traditional Korean Gayageum. She said the 1972 classic reminded her of something else — musical brilliance transcends genres, and she’s absolutely right.
Wynton Marsalis Explores the Rhythm Section’s Role in “Music as Metaphor” at Harvard
In 2011, jazz legend Wynton Marsalis kicked off his Hidden in Plain View: Meanings in American Music lecture series at Harvard University with Music as Metaphor. In this captivating session, Marsalis, along with an ensemble of world-class musicians, including Ali Jackson (drums), Dan Nimmer (piano), and Carlos Henriquez (bass), explored the often overlooked symbolism in American music and how it reflects democratic principles. The musicians demonstrated the rhythm section’s role in creating swing, offering a rich blend of performance and insight. This marked the beginning of a six-lecture journey, blending music and philosophy to reveal deeper truths within America’s musical heritage.
Deadheads Try To Guess The Year Of The Grateful Dead’s Songs
Are you a true Grateful Dead fan? Guess the Year, a unique podcast game show, challenges die-hard Deadheads to identify the year a live track was performed. Five contestants from across the country tune in via Zoom, listening to short clips of live Grateful Dead performances. Using their knowledge of the band’s ever-evolving vocals, instrumentals, and setlists, they try to pinpoint the exact year. The contestant with the most accurate guesses wins, proving their ultimate devotion to the band’s legacy.
Ludacris, Alesso and OneRepublic to Headline Formula 1 Heineken Silver Las Vegas Grand Prix 2024
Global superstars Ludacris, Alesso and OneRepublic are set to headline the T-Mobile Zone at Sphere Stage during the FORMULA 1 HEINEKEN SILVER LAS VEGAS GRAND PRIX November 21-23. Additionally, Chromeo, DRAMA, Kaleena Zanders, MEUTE, The Beaches, TOO MANY ZOOZ and more will take the stage for thrilling performances throughout the weekend.
Guests can step into a festival-like atmosphere underneath the glow of Las Vegas’ newest landmark, Sphere, and engage in fan activations along with unobstructed views of some of the most challenging turns of the race, including Turn 5G and through the chicane spanning turns 7 through 9.
“Las Vegas is the Sports and Entertainment Capital of the World, so we knew we needed to bring an all-star lineup for this year’s Las Vegas Grand Prix,” said Renee Wilm, CEO of Las Vegas Grand Prix, Inc. “Fans can expect an extraordinary set of live acts, with performances from major names in entertainment to electrifying sets by beloved DJs and many more.”
The headlining artists for T-Mobile Zone at Sphere Stage include:
- Saturday, November 23 – Ludacris: GRAMMY and Billboard Award-winner Ludacris has built a legacy as a rapper since his debut in 1998. Throughout his storied career, he has collaborated with artists such as Missy Elliott, OutKast, LL Cool J, Mariah Carey, Carrie Underwood and more.
- Friday, November 22 – Alesso: Award-winning DJ and dance music producer, Alesso has amassed two RIAA-certified Platinum hits, two certified Gold singles, over 5.5 billion global streams, and countless collaborations throughout the span of his iconic career. He has worked with numerous artists including Avicii, OneRepublic, Katy Perry, Calvin Harris, Usher, David Guetta, and Sebastian Ingrosso.
- Thursday, November 21 – OneRepublic: GRAMMY-nominated OneRepublic is among the most successful pop-rock bands of the 21st Century. The group has amassed over 5 billion streams on Spotify alone. Most recently, the band debuted their sixth album, Artificial Paradise, to rave reviews. It features the recently released smash single “I Ain’t Worried,” which was featured in the blockbuster hit, “Top Gun: Maverick” and boasts over 3 billion streams.
“I’m excited to celebrate the Las Vegas Grand Prix and welcome fans from all over the world to my home away from home,” said Alesso. “It’s going to be another great weekend in Vegas!”
Fans with ticketed experiences in the T-Mobile Zone at Sphere will have access to headliner performances, fan activations including Club Magenta by T-Mobile, and complimentary food, water and soft drinks. Ticket options available in the T-Mobile Zone at Sphere include:
- T-Mobile Grandstands: Three-day ticket with assigned seats in the T-Mobile Zone at Sphere.
- T-Mobile General Admission: Three-day ticket with standing-room-only views and access to viewing platforms on a first-come, first-serve basis.
Additional entertainment, such as the Heineken Silver Stage acts, the LIV on the Grid DJ lineup and other performance offerings will be announced in the coming months.
Mirvish Productions Will Dim the Marquee Lights of The Royal Alexandra Theatre to Honour Maggie Smith
The marquee lights of The Royal Alexandra Theatre will be dimmed on Tuesday, October 1 to honour Dame Maggie Smith, one of the greatest actors of her generation, who died at the age of 89 in London today.
Smith performed a celebrated production of Sir Noel Coward’s Private Lives at the Royal Alex in January 1975. Directed by Sir John Gielgud, the production originated at the Queen’s Theatre (now called the Stephen Sondheim Theatre) in London in 1972. It was the last major revival of the play during Coward’s lifetime. Smith starred as Amanda, and her husband at the time, Robert Stephens, starred as Elyot. The production, with John Standing as Elyot, was revived for a short pre-Broadway tour that began at the Royal Alex and then went to the Ahmanson Theatre in Los Angeles, before opening on Broadway at the 46th Street Theatre (now called the Richard Rodgers Theatre). Smith played Amanda again in 1978, when she was part of acting company of the Stratford Festival; Brian Bedford played opposite her as Elyot.
Stock Music Market Size Is Set to Grow by USD 650.4 Million From 2024-2028
The global stock music market size is estimated to grow by USD 650.4 million from 2024-2028, according to Technavio. The market is estimated to grow at a CAGR of 8.09% during the forecast period. Rising adoption of subscription model is driving market growth, with a trend towards expanding variety of stock music. However, lack of ownership of streamed music and issues associated with integration poses a challenge. Key market players include Addictive Tracks Ltd., Adobe Inc., Artlist Ltd., Audio Network Ltd., Bensound, Envato Pty Ltd., Epidemic Sound AB, Filmstro Ltd., Footage Firm Inc., HookSounds, Marmoset LLC, Music Vine Ltd., MusicRevolution LLC, NEO Sounds Ltd., Pixabay GmbH, Shutterstock Inc., Smartsound LLC, SoundCloud Global Ltd. And Co. KG, The License lab LLC, and Trad Ventures LLC.
The stock music market experiences significant growth due to the increasing demand for background music in various applications. Stock music tracks are popularly used in TV shows, corporate videos, on-hold productions, websites, and YouTube videos. RF music, a type of stock music, is extensively utilized in YouTube videos as it allows users to legally use licensed music for their video content. Corporate clients employ RF music for creating impactful presentations and marketing videos. Appropriate music selection can enhance the ambiance and influence audience perception. Additionally, stock music is used for voice-overs to set the mood and context for product or service promotions. The wide availability and variety of stock music cater to diverse needs, driving the market’s growth during the forecast period.
In today’s digital world, the Stock Music Market is booming. With the rise of internet advertising and TV advertising, the demand for high-quality music for video content has skyrocketed. Streaming services like Netflix and Hulu are leading the charge, but digital advertising, online marketing, podcasting, and broadcasting also require music. Independent filmmakers, multimedia artists, and even businesses are turning to stock music libraries for authentic tunes. The gig economy has given rise to a new generation of stock music producers, offering a wide range of genres and styles. Technology and social media have made it easier than ever for content creators to access these libraries, making the Stock Music Market a global business. Editing tools and platforms have also made it simple for professionals to find the perfect track for their project. Millennials, in particular, value authenticity in their audio marketing, making stock music an essential tool for businesses looking to connect with this demographic. From TV and films to advertisements, video games, corporate production, and entertainment, the user base for stock music is vast and diverse.
The digital music market, which includes stock music publishing, is experiencing significant growth due to the increasing popularity of digital music and the proliferation of music streaming services. Mobile apps offer both free and paid streaming options with vast music libraries. However, listeners do not own the music they access through these services, and an internet connection is necessary. This lack of ownership and the need for constant connectivity prevent some consumers from relying solely on streaming services. Instead, they prefer downloading music for ownership and offline access. Integrating stock music platforms into various channels, such as mobile apps and social media, necessitates considerable time and financial investment for software coding. Effective integration requires vendor support for all platforms, adding to the complexity and cost. These business process challenges and the need for substantial investments hinder the entry of new vendors and threaten the sustainability of existing ones. Consequently, the global stock music market faces obstacles in expanding during the forecast period.
The Stock Music Market faces several challenges in today’s dynamic business landscape. Millennials prefer authenticity and technology, leading to a surge in demand for original music and social media integration. Music libraries cater to content creators in TV, films, advertisements, video games, and corporate production, requiring a vast user base and diverse offerings. Stock music producers must navigate licensing complexities, including attribution and exploitable rights, while maintaining a premium quality and competitive pricing. Market participants like Premiumbeat, Coca-Cola, Budweiser, and touring musicians leverage stock music for brand assets and advertising material, localization, and digital efforts. Cultural change agents and local musicians contribute to a diverse and evolving market. Technology enables a unified approach through platform integration, and the entertainment business adapts with multimedia content, instore activations, and digital elements. Media spending shifts towards radio advertising and audio marketing, with Prague emerging as a significant hub for stock music production.
The Stock Music Market is a thriving business platform where creators sell their original music compositions to businesses for use in various media projects. Companies license these tracks for advertising, films, TV shows, and other multimedia content. Transactions occur through secure online marketplaces, ensuring a seamless experience for both parties. This mutually beneficial arrangement saves businesses time and resources while providing musicians with a steady income stream.
The global Background Music Market is projected to grow steadily, driven by the increasing demand in retail, hospitality, and commercial spaces to enhance customer experience. Meanwhile, the global Live Music Market is booming, fueled by rising disposable incomes and the growing popularity of music festivals and concerts. The global Guitar Market is also experiencing growth, supported by the increasing number of music enthusiasts and the influence of social media on musical trends. Together, these markets reflect the dynamic and evolving landscape of the global music industry.
The Stock Music Market is a dynamic and evolving industry that caters to the diverse needs of content creators in the digital age. With millennials dominating the consumer landscape, technology and social media have become the driving forces behind the demand for authentic and engaging audio content. Music libraries have emerged as key players, providing a vast selection of royalty-free tracks for use in various sectors. TV, films, advertisements, video games, corporate production, and independent filmmakers all rely on stock music to enhance their multimedia projects.
The Stock Music Market is a dynamic and evolving industry that caters to the diverse needs of content creators, businesses, and media platforms in the digital age. With millennials leading the cultural change, technology and social media have transformed the way we consume and create music. Authenticity is key, and stock music libraries offer a vast array of original music for various genres and styles, suitable for TV, films, advertisements, video games, corporate production, and entertainment business. Content creators, from touring musicians to local artists, benefit from this market by licensing their music for exploitable rights. Brands, such as Coca-Cola and Budweiser, use stock music as brand assets for advertising and branding material, while localization and platform integration ensure a unified approach for global audiences.
Tencent Music Entertainment Group Announces Second Quarter 2024 Unaudited Financial Results
Tencent Music Entertainment Group (“TME,” or the “Company”) (NYSE: TME and HKEX: 1698), the leading online music and audio entertainment platform in China, today announced its unaudited financial results for the second quarter ended June 30, 2024.
Second Quarter 2024 Financial Highlights
- Total revenues were RMB7.16 billion (US$985 million), representing a 1.7% year-over-year decrease, primarily due to a decline in revenues from social entertainment services and others, which was partially offset by strong year-over-year growth in revenues from online music services.
- Revenues from music subscriptions were RMB3.74 billion (US$515 million), representing 29.4% year-over-year growth. The number of paying users increased by 17.7% year-over-year to 117.0 million, up by 3.5 million from the first quarter of 2024.
- Net profit was RMB1.79 billion (US$247 million), representing 33.1% year-over-year growth. Net profit attributable to equity holders of the Company was RMB1.68 billion (US$231 million), representing 29.6% year-over-year growth. Non-IFRS net profit[1] was RMB1.99 billion (US$273 million), representing 25.7% year-over-year growth. Non-IFRS net profit attributable to equity holders of the Company[1] was RMB1.87 billion (US$258 million), representing 22.5% year-over-year growth.
- Diluted earnings per ADS was RMB1.07 (US$0.15), up from RMB0.82 in the same period of 2023.
- Total cash, cash equivalents, term deposits and short-term investments as of June 30, 2024 were RMB35.03 billion (US$4.82 billion).
Mr. Cussion Pang, Executive Chairman of TME, commented, “We are pleased to report another quarter of robust results, driven by the strong performance of our online music services. With over 10 million net subscriber additions in the first half of 2024 and ARPPU expansion, we continue to break new grounds within China’s streaming landscape. We remain optimistic about the music industry’s long-term potential and are committed to sustainably achieving our mid- to long-term goals, at a healthy pace and with the right balance. This approach has been instrumental in the past as we effectively navigated across various development stages and changing external environments, and it will continue to fuel innovation and growth for the years to come.”
Mr. Ross Liang, CEO of TME, continued, “Our focus on user-centric innovation continued to pay off, as we have seen a steady increase in both online music subscribers and retention. This achievement is the result of further enriched membership benefits as well as unique streaming experiences delivered to a broader user base. We are delighted to see improved user loyalty on our platform, thanks to multi-faceted product and technological advancements that bring out increasingly engaging and entertaining music journey for each user.”
Second Quarter 2024 Operational Highlights
- Key Operating Metrics
|
2Q24 |
2Q23 |
YoY % |
|
|
MAUs – online music (million) |
571 |
594 |
(3.9 %) |
|
Mobile MAUs – social entertainment (million) |
93 |
136 |
(31.6 %) |
|
Paying users – online music (million) |
117.0 |
99.4 |
17.7 % |
|
Paying users – social entertainment (million) |
7.9 |
7.5 |
5.3 % |
|
Monthly ARPPU – online music (RMB) |
10.7 |
9.7 |
10.3 % |
|
Monthly ARPPU – social entertainment (RMB) |
73.2 |
135.0 |
(45.8 %) |
Enriched content library, deepened record label collaborations, and self-produced content offerings boosted our content ecosystem.
- Our strong alliances with record labels ensure ongoing and deeper collaborations, including but not limited to providing users with early listening privileges to new songs to promote membership conversion and engagement. Our recent contract renewal with Sodagreen and CJ ENM reaffirmed this effective approach.
- Introduced digital album offerings with distinguished fan-artist interaction benefits, and premiered notable new releases in the quarter. Particularly, Zhou Shen’s digital album Shenself topped sales volume on our platform for this year. The digital albums of Lay Zhang and aespa also delivered solid performances.
- Supported artists in hosting concerts and staged our own music festivals, providing fans with early access to value-added services such as ticketing and artist merchandise, thereby elevating our industry influence. For example, we 1) upgraded our flagship annual event, TMEA 2024, featuring a wider array of artists from top nationwide singers and emerging musicians to overseas idols; 2) hosted TIA RAY’s first large-scale concert tour, highlighted by creative stage design, and achieved a sell-out success; 3) initiated a new collaboration with Karen Mok, customizing event-themed merchandise for her concert.
- Capitalized on extensive IP and artist resources to elevate production, promotion, and success of our self-produced content. 1) Produced chart-topping soundtracks for TV dramas Joy of Life 2 and The Tale of Rose, featuring joint promotion with the cast on our music Apps; 2) Promoted original content Heard of You and Who Am I on the popular national music variety show The Treasured Voice Season 5, with both songs going viral and boosting streams on our platform.
Unique blend of premium benefits, original content, and a variety of engaging use cases drove sustainable subscriber growth.
- Advanced sound quality across devices and platforms consistently, e.g. QQ Music introduced Premium Panoramic Sound 2.0 and Kugou Music rolled out Viper Ultra Sound, both featuring ultra-clear sound quality and saw increased user adoption.
- Introduced more personalized privileges to strengthen member loyalty. Our proprietary players and ringtones crafted based on famous IPs and artists have been well received by members.
- Offering original content that appeals to different music preferences is proven to be increasingly effective for subscriber conversion.
- Our Super VIP (SVIP) service has started to gain more traction, thanks to our efforts in meeting members’ evolving needs. It provides a holistic listening experience across various devices and scenarios, including music and long-form audio content, with additional benefits such as priority access to digital albums and ticket booking for offline performances.
Enhanced listening experience for a wider audience through advanced technology and innovative product features.
- Upgraded our recommendation middleware to allow for a more personalized music discovery experience. Notably, nearly 40% of streams were generated from recommendations during the quarter.
- Applied AIGC to elevate sound quality and interactive streaming experience. For example, we introduced data-saving AI-enhanced SQ Lite Mode while preserving superior sound quality, and rolled out a virtual DJ feature within Kugou Music to provide users with tailored music introductions and a sense of companionship.
- Recently launched a multi-device synchronized playback feature and a compact, half-screen music player that allow users to navigate music streaming seamlessly.
- Expansive rewards program gained popularity among users, resulting in more frequent and longer listening sessions.
Second Quarter 2024 Financial Review
Total revenues decreased to RMB7.16 billion (US$985 million) from RMB7.29 billion in the same period of 2023.
- Revenues from online music services delivered a strong year-over-year increase of 27.7% to RMB5.42 billion (US$746 million) from RMB4.25 billion in the same period of 2023. The increase was driven by solid growth in music subscription revenues, supplemented by growth in revenues from advertising services. Revenues from music subscriptions were RMB3.74 billion (US$515 million), representing 29.4% year-over-year growth compared with RMB2.89 billion in the same period of 2023. This rapid growth was driven by continuous expansion in the online music paying user base and improved ARPPU. The number of online music paying users increased by 17.7% year-over-year to 117.0 million, with a monthly ARPPU of RMB10.7 in the second quarter of 2024. The increase in the number of paying users was primarily due to high quality content, attractive membership privileges, and optimized user operations and effective promotions. The year-over-year increase in revenues from advertising was primarily due to our more diversified product portfolio and innovative ad formats, including ad-supported mode and sponsorship advertising. Additionally, increased revenues from offline performances also contributed to the growth in revenues from online music services.
- Revenues from social entertainment services and others decreased by 42.8% to RMB1.74 billion (US$239 million) from RMB3.04 billion in the same period of 2023. The continued decrease was mainly the result of adjustments to certain live-streaming interactive functions and more stringent compliance procedures we started to implement in the second quarter of 2023, as well as increased competition from other platforms.
Cost of revenues decreased by 13.3% year-over-year to RMB4.15 billion (US$571 million), mainly due to decreased revenues from social entertainment services that led to less revenue sharing fees, partially offset by increased content costs of royalties, costs related to offline performances and payment channel fees.
Gross margin increased to 42.0% from 34.3% in the same period of 2023, primarily due to strong revenue growth from music subscriptions and advertising services, and the ramp-up of our own content.
Total operating expenses decreased by 8.5% year-over-year to RMB1.15 billion (US$158 million). Operating expenses as a percentage of total revenues decrease to 16.0% from 17.2% in the same period of 2023.
- Selling and marketing expenses were RMB210 million (US$29 million), which were relatively stable compared with same period of last year. We continue to maintain ROI focused approach for promotion expenses.
- General and administrative expenses were RMB938 million (US$129 million), representing a 10.2% year-over-year decrease. This decrease was primarily due to reduced employee-related expenses.
Total operating profit was RMB2.20 billion (US$302 million) in the second quarter of 2024, representing an increase of 42.8% year-over-year.
The effective tax rate for the second quarter of 2024 was 19.4% compared with 12.2% in the same period of 2023. The increase in the effective tax rate was mainly driven by the accrual of withholding income tax of RMB111 million (US$15 million) in the second quarter of 2024. Additionally, changes in preferential tax rates for certain entities also impacted our effective tax rate.
For the second quarter of 2024, net profit was RMB1.79 billion (US$247 million) and net profit attributable to equity holders of the Company was RMB1.68 billion (US$231 million). Non-IFRS net profit was RMB1.99 billion (US$273 million) and non-IFRS net profit attributable to equity holders of the Company was RMB1.87 billion (US$258 million). Please refer to the section in this press release titled “Non-IFRS Financial Measure” for details.
Basic and diluted earnings per American Depositary Shares (“ADS”) for the second quarter of 2024 were RMB1.09 (US$0.15) and RMB1.07 (US$0.15), respectively; non-IFRS basic and diluted earnings per ADS were RMB1.21 (US$0.17) and RMB1.19 (US$0.16), respectively. The Company had weighted averages of 1.54 billion basic and 1.57 billion diluted ADSs outstanding, respectively. Each ADS represents two of the Company’s Class A ordinary shares.
Declaration and Payment of 2023 Dividend
On May 11, 2024, the Company’s board of directors declared a cash dividend of US$0.0685 per ordinary share, or US$0.1370 per ADS, for the year ended December 31, 2023, to holders of record of ordinary shares and ADSs as of the close of business on May 31, 2024. The payment for the cash dividend of US$212 million was made in June 2024.
As of June 30, 2024, the combined balance of the Company’s cash, cash equivalents, term deposits and short-term investments amounted to RMB35.03 billion (US$4.82 billion), compared with RMB34.18 billion as of March 31, 2024.
Social Responsibilities
In the second quarter, we cooperated with Tencent Charity to launch another “Little Red Flower Concert”, aiming to share compassion through music and inspire the society as a whole. We continued to partner with volunteer artists and teachers to support local education, and amplified its online reach this year by deepening collaboration with Weixin Video Accounts.
Exchange Rate
This announcement contains translations of certain RMB amounts into U.S. dollars (“USD”) at specified rates solely for the convenience of the reader. Unless otherwise stated, all translations from RMB to USD were made at the rate of RMB7.2672 to US$1.00, the noon buying rate in effect on June 28, 2024, in the H.10 statistical release of the Federal Reserve Board. The Company makes no representation that the RMB or USD amounts referred could be converted into USD or RMB, as the case may be, at any particular rate or at all. For analytical presentation, all percentages are calculated using the numbers presented in the financial statements contained in this earnings release.
Non-IFRS Financial Measure
The Company uses non-IFRS net profit for the period, which is a non-IFRS financial measure, in evaluating its operating results and for financial and operational decision-making purposes. TME believes that non-IFRS net profit helps identify underlying trends in the Company’s business that could otherwise be distorted by the effect of certain expenses that the Company includes in its profit for the period. TME believes that non-IFRS net profit for the period provides useful information about its results of operations, enhances the overall understanding of its past performance and future prospects and allows for greater visibility with respect to key metrics used by its management in its financial and operational decision-making.
Non-IFRS net profit for the period should not be considered in isolation or construed as an alternative to operating profit, net profit for the period or any other measure of performance or as an indicator of its operating performance. Investors are encouraged to review non-IFRS net profit for the period and the reconciliation to its most directly comparable IFRS measure. Non-IFRS net profit for the period presented here may not be comparable to similarly titled measures presented by other companies. Other companies may calculate similarly titled measures differently, limiting their usefulness as comparative measures to the Company’s data. TME encourages investors and others to review its financial information in its entirety and not rely on a single financial measure.
Non-IFRS net profit for the period represents profit for the period excluding amortization of intangible and other assets arising from business acquisitions or combinations, share-based compensation expenses, net losses/gains from investments and related income tax effects.
Please see the “Unaudited Non-IFRS Financial Measure” included in this press release for a full reconciliation of non-IFRS net profit for the period to its net profit for the period.
|
[1] Non-IFRS net profit and non-IFRS net profit attributable to equity holders of the Company were arrived at after excluding the combined effect of amortization of intangible assets and other assets arising from business acquisitions or combinations, share-based compensation expenses, net losses/gains from investments, and related income tax effects. |
About Tencent Music Entertainment
Tencent Music Entertainment Group (NYSE: TME and HKEX: 1698) is the leading online music and audio entertainment platform in China, operating the country’s highly popular and innovative music apps: QQ Music, Kugou Music, Kuwo Music and WeSing. TME’s mission is to create endless possibilities with music and technology. TME’s platform comprises online music, online audio, online karaoke, music-centric live streaming and online concert services, enabling music fans to discover, listen, sing, watch, perform and socialize around music. For more information, please visit ir.tencentmusic.com.
Safe Harbor Statement
This press release contains forward-looking statements. These statements are made under the “safe harbor” provisions of the U.S. Private Securities Litigation Reform Act of 1995. Statements that are not historical facts, including statements about the Company’s beliefs and expectations, are forward-looking statements. Forward-looking statements involve inherent risks and uncertainties, and a number of factors could cause actual results to differ materially from those contained in any forward-looking statement. In some cases, forward-looking statements can be identified by words or phrases such as “may,” “will,” “expect,” “anticipate,” “target,” “aim,” “estimate,” “intend,” “plan,” “believe,” “potential,” “continue,” “is/are likely to” or other similar expressions. Further information regarding these and other risks, uncertainties or factors is included in the Company’s filings with the SEC and the HKEX. All information provided in this press release is as of the date of this press release, and the Company does not undertake any duty to update such information, except as required under applicable law.
5 Things You Might Know Have Known About Oasis’ ‘Definitely Maybe’ Album
Oasis’ Definitely Maybe wasn’t just an album—it was the musical and cultural shift that made Britpop explode worldwide. From the anthemic “Rock ‘n’ Roll Star” to the cool swagger of “Supersonic,” Oasis crafted a debut that captured the raw hunger of a band who wanted it all, on the brink of actually getting it. Recorded over multiple sessions with relentless energy, Definitely Maybe didn’t just launch a band—it defined an era.
- Debut Album Sales Record: Upon its release in 1994, Definitely Maybe became the fastest-selling debut album in UK history, selling over 86,000 copies in its first week. This record stood until it was surpassed by Arctic Monkeys’ Whatever People Say I Am, That’s What I’m Not in 2006.
- The Original Recording Was Scrapped: Before the final version, the entire album was recorded at a different studio with a different producer. The band was unhappy with the sound, leading them to scrap the initial recordings and start over with producer Owen Morris, who gave the album its signature loud, raw sound.
- “Supersonic” Was Written in a Day: Noel Gallagher wrote the band’s first single, “Supersonic,” in just one day during a recording session. The song wasn’t planned but emerged organically as the band jammed in the studio, and it became one of their most iconic tracks.
- Influenced by T. Rex and Slade: While Definitely Maybe is often associated with its heavy Beatles and Stones influence, some tracks were also shaped by glam rock bands like T. Rex and Slade. You can hear that gritty, anthemic style in songs like “Cigarettes & Alcohol.”
- Noel Played Every Guitar Solo: Despite Liam Gallagher’s dominant role as lead vocalist, Noel Gallagher played all the guitar solos on Definitely Maybe, including the powerful solos on tracks like “Live Forever” and “Slide Away,” showcasing his dual role as both lead guitarist and songwriter.
