For most gamers today, streaming feels like the default setting for everything—music, movies, even games. Tap play, jump into a match, let the background noise roll. By that logic, iTunes should be long gone, a relic from the iPod era. And yet, around 11 million people are still actively using it. Not by accident. By choice. In a streaming-first world, that’s exactly why record labels are still paying attention.
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Before Spotify playlists and algorithm-driven discovery, iTunes was the king of digital music. You bought tracks, owned files, and built a library that was yours. Streaming nearly wiped that model out, but it didn’t erase the mindset behind it. For gamers especially, that mindset is familiar. Many players still prefer owning games outright instead of relying on subscriptions that rotate titles in and out.
One of the biggest reasons labels still care about iTunes is who its users are. Over 80% of iTunes buyers don’t subscribe to Apple Music. That makes them a separate audience, not just streamers who forgot to switch apps. These users are high-intent buyers, especially during release week, when sales numbers shape charts, headlines, and industry perception.
Release timing matters because downloads hit harder than streams. A single album purchase counts as a full unit on the charts, while streaming requires massive volume to catch up. It takes 1,000 premium streams—or 2,500 ad-supported streams—to equal one album sale. For labels, one motivated iTunes buyer can outweigh thousands of passive listens. Gamers understand this logic instantly: a day-one purchase speaks louder than hours logged later.
There’s also a misconception that iTunes users are stuck reliving their youth. Apple’s own data tells a different story. Half of iTunes customers started buying music within the last ten years, well after streaming took over. Nearly half of the top 10,000 best-selling albums each quarter on iTunes are new releases. That’s not nostalgia—it’s current demand.
This is why digital exclusives and variant releases still exist. iTunes-only editions, bonus tracks, and special versions give fans a reason to buy now instead of waiting. It’s the same strategy used in gaming with deluxe editions and preorder bonuses. Make the purchase feel meaningful, and people will commit.
iTunes users also behave differently than streamers. They’re more likely to listen on day one, more engaged during launch week, and more invested in artists as individuals. Some even need files for creative reasons like sampling or remixing. Streaming licenses can change overnight; owned files don’t.
Even as downloads decline overall, labels aren’t chasing volume anymore—they’re chasing precision. Find the remaining buyers and serve them intentionally. For gamers managing digital ecosystems, prepaid flexibility still fits this world. An Apple iTunes Gift Card[https://www.igxc.com/category-apple.html] works naturally alongside console store credits, offering control without subscriptions.
Streaming may dominate, but iTunes proves ownership still matters. In a world built on access, millions are still choosing permanence—and labels are smart enough to follow them.