What went wrong? Did a 'tied pub' business model lead COMPOSED to lack critical independence, sufficient musical range and lack of distinctive content needed to attract paid subscribers, and take them from the huge free access repertoires of YouTube, IDAGIO or Spotify? Did Classic FM have insufficient in-depth musical knowledge and critical judgement to provide the right editorial content, and was a more integrated broadcasting and live performance strategy with artistic partners needed? Where was the growth model beyond music streaming, and aspiration to become a wider classical music and affiliate platform?
These are questions other classical streaming services must answer quickly to survive and succeed.