+353-1-416-8900REST OF WORLD
+44-20-3973-8888REST OF WORLD
1-917-300-0470EAST COAST U.S
1-800-526-8630U.S. (TOLL FREE)

Stock Music Market - Global Outlook & Forecast 2023-2028

  • PDF Icon


  • 263 Pages
  • March 2023
  • Region: Global
  • Arizton
  • ID: 5750171
1h Free Analyst Time

Quick Summary:

In today's dynamic business environment, knowledge equates to power. For industries, such as the global stock music market, this statement holds very true. The need for comprehensive, credible, and up-to-date information regarding market trends, industry constraints, and business leaders has never been higher. Investing in a thorough market research report can provide senior executives with the insights needed to make informed business decisions.

This report describes the growth factors and restraints affecting the global stock music market, giving a clear understanding of the current and future trends in the industry. For instance, it explores how authenticity is revolutionizing marketing and why independent content creators are driving demand for stock music. The report also provides a geographical analysis, unearthing valuable knowledge regarding regional opportunities and challenges, including critical insights into North America’s leadership in the industry. Additionally, the report delves into key company profiles, segmentation insights, and provides answers to the most pressing industry-related questions. Arm your business with the crucial data necessary to stay competitive and invest in our comprehensive market research report now.

1h Free Analyst Time

Speak directly to the analyst to clarify any post sales queries you may have.

The global stock music market is expected to grow at a CAGR of 8.65% from 2022 to 2028


Rising Need for Authenticity

Stock music made in studios devoid of inclusivity, diversity, and authenticity was a norm across marketing material from key brand assets to advertisements. Most music did nothing to set one brand apart from another owing to its familiarity, thereby not always resonating with its audience. They could also not trust advertising, which became akin to white noise. Marketing is, thus, being revolutionized, one that has its roots in authenticity. With the media and marketing industry becoming increasingly subtle, end-users of stock music are looking at not being a sell-out. Consumers, specifically millennials with their penchant for technology and all things social, find genuineness appealing. This led marketers to ditch these giant sprawls of repeatedly used internet-famous audio content and embrace authenticity as core to audio marketing. Such factors are projected to propel the stock music market.

Rise of Independent Content Creators

A good count of creators is earning significant income from their channels, pages, and profiles, acting as influencers or content creators, all translating to high demand for paid stock music used largely as background music or with sound effects. Currently, demand is being spurred by royalty-free and licensed music owing to the growth in independent content creation. However, stock music market vendors have also responded and designed their products and services around the trend of independent content creation, further fuelling their uptake in the industry. For instance, AudioJungle introduced new licensing terms, away from the one-size-fits-all concept that allows audio files to be used in the different ways content creators would use them.

The Podcast Renaissance

Podcast demographics are exploding, and the young generations have embraced the medium, encouraging many of these audio products globally. Countries such as China, apart from the US, use the medium to dole out all kinds of content, giving rise to new business models. These factors mean that stock music has a significant opportunity, whether used in podcasts or by brands advertising or aurally sponsoring story-driven content. Most podcast creators depend on stock music for ease; as paid podcast subscriptions grow, so are the industry revenues, thereby boosting the stock music market. The diversity for the kind of stock music required is vast as consumers tune in for everything from stories to education, marketing, training, and more.


Increasing Interest in Custom Music

Brands with a global base are exploring strategies to localize their offerings to develop a close equation with discerning customers. Essentially, they commission custom music from cultural change agents, i.e., touring musicians who work with specific genres or local musicians who have managed to create a deep impact in their respective regions. Through careful selection, brands have been working on evolving their global presence. For instance, brands such as Budweiser and Coca-Cola have their branding strategies rooted in music. Music, therefore, becomes a point of passion for its consumers. In scenarios such as these, stock music does not make sense. Although certain stock music composers try to create localized tracks, these tracks are mostly way before time leading to disinterest. This requirement for localization has created a substantial gap in the stock music market and has driven down the demand for stock music to a certain extent.



The global stock music market by product segments into the track and sound effect. The track segment dominated the global industry and was valued at USD 957.87 million in 2022. The global stock music market by tracks is witnessing steady growth fueled by the age of personal creation. The industry is undergoing a paradigm shift. The low-quality stock music that dominated the industry not too long ago kept great musicians out of the game, keeping track quality low. However, as emerging business models harmonize the quality and the price, genuine composers are re-entering the field and raising the industry's standard, thereby driving the demand for stock tracks. The music track segment is highly diversified. From players dealing with brand-name artists, such as Ricall Express and Song Freedom, to offering tracks from virtually unknown artists for low-budget use, it covers the entire spectrum of demands.

Segmentation by Product

  • Track
  • Sound Effect


The global stock music market for large businesses dominated with a 51.37% share in 2022. Audio or sonic branding, where brands create musical signatures, is witnessing growth as audio marketing comes to the forefront as part of innovative campaigns. The shift in consumption preferences of digital content from passive, video-based to audio-based content is underpinned by the understanding of the importance of marketing strategies that make it easy to consume content. This has caused the age of look and feels to be overridden by listen and feel, fostering the use of audio branding where consumers can easily identify with the brand. As a result, audio branding has come a long way since traditional iconic jingles, radio ads, and commercial ad music among large businesses.

Segmentation by End-User

  • Large Businesses
  • SMEs
  • Individual Content Creators


The license fee-based global stock music market accounted for 64.29% of the industry's revenue in 2022. Since content marketing has become integral, the strategy has been capitalized with bland and over-optimized content. However, quality is now beginning to trump quantity. Hence, marketers prefer low-volume, high-quality content instead of low-quality content. This is shifting focus from royalty-free to licensed music, given that the latter’s quality, appeal, feel, and authenticity is objectively better. Furthermore, there has been quite some progress and innovation in the music licensing segment.

Segmentation by License

  • Licensed Music
  • Royalty-Free


North America dominates the global stock music market, accounting for an industry share of 50.86% in 2022. The region witnessed high growth for individual content creators in 2022, with rising attraction toward individual music production and content creation, which recorded revenue of USD 73.06 million. Moreover, the U.S. has one of the world's strongest, most influential, and most innovative music cultures, with audio naturally ingrained in the culture. It is the largest industry for radio globally, making up almost half the total radio revenues. While broadcast radio’s ad spending is dropping, it is still the biggest industry driving the growth of stock music volumes.

Segmentation by Geography

  • North America
  • US
  • Canada
  • APAC
  • China
  • Japan
  • India
  • South Korea
  • Australia
  • Indonesia
  • Philippines
  • Taiwan
  • Europe
  • UK
  • Germany
  • France
  • Italy
  • Russia
  • Spain
  • Sweden
  • Switzerland
  • Latin America
  • Brazil
  • Mexico
  • Argentina
  • Middle East & Africa
  • UAE
  • South Africa
  • Saudi Arabia


The global stock music market is moderately consolidated. The market has three types of agencies: single artists, community-based, and mass players. These agencies represent different types of products based on exclusivity. While players such as Getty Images and Shutterstock have imposed a consumer-facing business model (i.e., low price, high volume), the industry has come a long way. Several specialist agencies are catapulting the industry forward as they keep up with technology and demand developments. The five major vendors that dominate the stock music market are Audio Network, Getty Images, Shutterstock, Musicbed, and Pond5.

Key Company Profiles

  • Envato
  • Entertainment One
  • Getty Images
  • Musicbed
  • Shutterstock

Other Prominent Vendors

  • Tribe of Noise
  • Media Music Now
  • SoundCloud
  • 123RF
  • Artlist
  • Audiosocket
  • Bensound
  • Dreamstime
  • FyrFly
  • Jamendo
  • Motion Array
  • Music Vine
  • Videvo
  • Storyblocks
  • Soundsnap
  • Earmotion Audio Creation
  • Epidemic Sound
  • Pond5
  • MusicRevolution
  • Marmoset
  • Soundstripe
  • Neosounds
  • The Music Case


1. How big is the stock music market?
2. What is the growth rate of the global stock music market?
3. Which region dominates the global stock music market share?
4. What are the significant trends in the stock music industry?
5. Who are the key players in the global stock music market?
Frequently Asked Questions about the Stock Music Market

What is the estimated value of the Stock Music Market?

The Stock Music Market was estimated to be valued at $1235 Million in 2022.

What is the growth rate of the Stock Music Market?

The growth rate of the Stock Music Market is 8.6%, with an estimated value of $2031.24 Million by 2028.

What is the forecasted size of the Stock Music Market?

The Stock Music Market is estimated to be worth $2031.24 Million by 2028.

Who are the key companies in the Stock Music Market?

Key companies in the Stock Music Market include Envato, Entertainment One, Getty Images, Musicbed, Shutterstock, Tribe of Noise, Media Music Now, SoundCloud, 123RF and Artlist.

Table of Contents

1 Research Methodology

2 Research Objectives

3 Research Process

4 Scope & Coverage
4.1 Market Definition
4.1.1 Inclusions
4.1.2 Exclusions
4.1.3 Market Estimation Caveats
4.2 Base Year
4.3 Scope of the Study
4.3.1 Market Segmentation by Product
4.3.2 Market Segmentation by License
4.3.3 Market Segmentation by End-User
4.3.4 Market Segmentation by Geography
5 Report Assumptions & Caveats
5.1 Key Caveats
5.2 Currency Conversion
5.3 Market Derivation

6 Market at a Glance

7 Premium Insights
7.1 Market Overview
7.2 Market Dynamics: Key Trends, Drivers, and Restraints
7.2.1 Market Trends
7.2.2 Market Drivers
7.2.3 Market Restraints
7.3 Segment Analysis
7.4 Geographical Analysis
7.5 Competitive Landscape

8 Introduction
8.1 Overview
8.1.1 Digital Globalization
8.1.2 Trends and Success Factors in the Stock Music Market

9 Market Opportunities & Trends
9.1 Simplifying Licensing
9.2 Increasing Intuitiveness of Filters
9.3 Growth of Platform Integrations
9.4 Rising Need for Authenticity
9.5 Immersive Sound Design Gaining Ground

10 Market Growth Enablers
10.1 Rise of Independent Content Creators
10.2 the Podcast Renaissance
10.3 Audio-Based User Experiences Gaining Traction
10.4 Growing Popularity of a Sound Design-First Approach
10.5 Growth of Tv-Style Programming

11 Market Restraints
11.1 Stories Without Sound
11.2 Massive Profusion of Choice
11.3 Generic Music Sweeping the Market
11.4 Increasing Interest in Custom Music

12 Market Landscape
12.1 Market Overview
12.2 Market Size & Forecast
12.3 Five Forces Analysis
12.3.1 Threat of New Entrants
12.3.2 Bargaining Power of Suppliers
12.3.3 Bargaining Power of Buyers
12.3.4 Threat of Substitutes
12.3.5 Competitive Rivalry

13 Product
13.1 Market Snapshot & Growth Engine
13.2 Market Overview
13.3 Track
13.3.1 Market Size & Forecast
13.3.2 Market by Geography
13.4 Sound Effect
13.4.1 Market Size & Forecast
13.4.2 Market by Geography

14 End-User
14.1 Market Snapshot & Growth Engine
14.2 Market Overview
14.3 Large Businesses
14.3.1 Market Size & Forecast
14.3.2 Market by Geography
14.4 Sme
14.4.1 Market Size & Forecast
14.4.2 Market by Geography
14.5 Individual Content Creators
14.5.1 Market Size & Forecast
14.5.2 Market by Geography

15 License
15.1 Market Snapshot & Growth Engine
15.2 Market Overview
15.3 Licensed Music
15.3.1 Market Size & Forecast
15.3.2 Market by Geography
15.4 Royalty-Free
15.4.1 Market Size & Forecast
15.4.2 Market by Geography

16 Geography
16.1 Market Snapshot & Growth Engine
16.2 Geographic Overview

17 North America
17.1 Key Highlights
17.2 Market Size & Forecast
17.3 Product
17.3.1 Market Size & Forecast
17.4 End-User
17.4.1 Market Size & Forecast
17.5 License
17.5.1 Market Size & Forecast
17.6 Key Countries
17.6.1 Us: Market Size & Forecast
17.6.2 Canada: Market Size & Forecast

18 Apac
18.1 Key Highlights
18.2 Market Size & Forecast
18.3 Product
18.3.1 Market Size & Forecast
18.4 End-User
18.4.1 Market Size & Forecast
18.5 License
18.5.1 Market Size & Forecast
18.6 Key Countries
18.6.1 China: Market Size & Forecast
18.6.2 Japan: Market Size & Forecast
18.6.3 India: Market Size & Forecast
18.6.4 South Korea: Market Size & Forecast
18.6.5 Australia: Market Size & Forecast
18.6.6 Indonesia: Market Size & Forecast
18.6.7 Philippines: Market Size & Forecast
18.6.8 Taiwan: Market Size & Forecast

19 Europe
19.1 Key Highlights
19.2 Market Size & Forecast
19.3 Product
19.3.1 Market Size & Forecast
19.4 End-User
19.4.1 Market Size & Forecast
19.5 License
19.5.1 Market Size & Forecast
19.6 Key Countries
19.6.1 Uk: Market Size & Forecast
19.6.2 Germany: Market Size & Forecast
19.6.3 France: Market Size & Forecast
19.6.4 Italy: Market Size & Forecast
19.6.5 Russia: Market Size & Forecast
19.6.6 Spain: Market Size & Forecast
19.6.7 Sweden: Market Size & Forecast
19.6.8 Switzerland: Market Size & Forecast

20 Latin America
20.1 Key Highlights
20.2 Market Size & Forecast
20.3 Product
20.3.1 Market Size & Forecast
20.4 End-User
20.4.1 Market Size & Forecast
20.5 License
20.5.1 Market Size & Forecast
20.6 Key Countries
20.6.1 Brazil: Market Size & Forecast
20.6.2 Mexico: Market Size & Forecast
20.6.3 Argentina: Market Size & Forecast

21 Middle East & Africa
21.1 Key Highlights
21.2 Market Size & Forecast
21.3 Product
21.3.1 Market Size & Forecast
21.4 End-User
21.4.1 Market Size & Forecast
21.5 License
21.5.1 Market Size & Forecast
21.6 Key Countries
21.6.1 Uae: Market Size & Forecast
21.6.2 South Africa: Market Size & Forecast
21.6.3 Saudi Arabia: Market Size & Forecast

22 Competitive Landscape
22.1 Competition Overview

23 Key Company Profiles
23.1 Envato
23.1.1 Business Overview
23.1.2 Product Offerings
23.1.3 Key Strategies
23.1.4 Key Strengths
23.1.5 Key Opportunities
23.2 Entertainment One
23.2.1 Business Overview
23.2.2 Product Offerings
23.2.3 Key Strategies
23.2.4 Key Strengths
23.2.5 Key Opportunities
23.3 Getty Images
23.3.1 Business Overview
23.3.2 Product Offerings
23.3.3 Key Strategies
23.3.4 Key Strengths
23.3.5 Key Opportunities
23.4 Musicbed
23.4.1 Business Overview
23.4.2 Product Offerings
23.4.3 Key Strategies
23.4.4 Key Strengths
23.4.5 Key Opportunities
23.5 Shutterstock
23.5.1 Business Overview
23.5.2 Product Offerings
23.5.3 Key Strategies
23.5.4 Key Strengths
23.5.5 Key Opportunities

24 Other Prominent Vendors
24.1 Tribe of Noise
24.1.1 Business Overview
24.1.2 Product Offerings
24.2 Media Music Now
24.2.1 Business Overview
24.2.2 Product Offerings
24.3 Soundcloud
24.3.1 Business Overview
24.3.2 Product Offerings
24.4 123Rf
24.4.1 Business Overview
24.4.2 Product Offerings
24.5 Artlist
24.5.1 Business Overview
24.5.2 Product Offerings
24.6 Audiosocket
24.6.1 Business Overview
24.6.2 Product Offerings
24.7 Bensound
24.7.1 Business Overview
24.7.2 Product Offerings
24.8 Dreamstime
24.8.1 Business Overview
24.8.2 Product Offerings
24.9 Fyrfly
24.9.1 Business Overview
24.9.2 Product Offerings
24.1 Jamendo
24.10.1 Business Overview
24.10.2 Product Offerings
24.11 Motion Array
24.11.1 Business Overview
24.11.2 Product Offerings
24.12 Music Vine
24.12.1 Business Overview
24.12.2 Product Offerings
24.13 Videvo
24.13.1 Business Overview
24.13.2 Product Offerings
24.14 Storyblocks
24.14.1 Business Overview
24.14.2 Product Offerings
24.15 Soundsnap
24.15.1 Business Overview
24.15.2 Product Offerings
24.16 Earmotion Audio Creation
24.16.1 Business Overview
24.16.2 Product Offerings
24.17 Epidemic Sound
24.17.1 Business Overview
24.17.2 Product Offerings
24.18 Pond5
24.18.1 Business Overview
24.18.2 Product Offerings
24.19 Musicrevolution
24.19.1 Business Overview
24.19.2 Product Offerings
24.2 Marmoset
24.20.1 Business Overview
24.20.2 Product Offerings
24.21 Soundstripe
24.21.1 Business Overview
24.21.2 Product Offerings
24.22 Neosounds
24.22.1 Business Overview
24.22.2 Product Offerings
24.23 the Music Case
24.23.1 Business Overview
24.23.2 Product Offerings

25 Report Summary
25.1 Key Takeaways
25.2 Strategic Recommendations

26 Quantitative Summary
26.1 Market by Geography
26.2 North America
26.2.1 Product
26.2.2 End-User
26.2.3 License
26.3 Apac
26.3.1 Product
26.3.2 End-User
26.3.3 License
26.4 Europe
26.4.1 Product
26.4.2 End-User
26.4.3 License
26.5 Latin America
26.5.1 Product
26.5.2 End-User
26.5.3 License
26.6 Middle East & Africa
26.6.1 Product
26.6.2 End-User
26.6.3 License
26.7 Product
26.7.1 Track
26.7.2 Sound Effect
26.8 End-User
26.8.1 Large Businesses
26.8.2 Smes
26.8.3 Individual Content Creators
26.9 License
26.9.1 Licensed
26.9.2 Royalty-Free

27 Appendix
27.1 Abbreviations

Companies Mentioned

  • Envato
  • Entertainment One
  • Getty Images
  • Musicbed
  • Shutterstock
  • Tribe of Noise
  • Media Music Now
  • SoundCloud
  • 123RF
  • Artlist
  • Audiosocket
  • Bensound
  • Dreamstime
  • FyrFly
  • Jamendo
  • Motion Array
  • Music Vine
  • Videvo
  • Storyblocks
  • Soundsnap
  • Earmotion Audio Creation
  • Epidemic Sound
  • Pond5
  • MusicRevolution
  • Marmoset
  • Soundstripe
  • Neosounds
  • The Music Case


Our research comprises a mix of primary and secondary research. The secondary research sources that are typically referred to include, but are not limited to, company websites, annual reports, financial reports, company pipeline charts, broker reports, investor presentations and SEC filings, journals and conferences, internal proprietary databases, news articles, press releases, and webcasts specific to the companies operating in any given market.

Primary research involves email interactions with the industry participants across major geographies. The participants who typically take part in such a process include, but are not limited to, CEOs, VPs, business development managers, market intelligence managers, and national sales managers. We primarily rely on internal research work and internal databases that we have populated over the years. We cross-verify our secondary research findings with the primary respondents participating in the study.