#Sweden Bike Sharing Market
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Sweden Bike Sharing Market: Forthcoming Trends and Share Analysis by 2030
Sweden Bike Sharing is Expected to Grow at a Significant Growth Rate, and the Forecast Period is 2023-2030, Considering the Base Year as 2022.
Big Swedish towns like Stockholm, Gothenburg, and Malmö have seen a rise in the use of bike sharing by both locals and tourists. The availability of strategically positioned docking stations and the ease of hiring bikes on-demand through smartphone apps have both contributed to the growing popularity of bike-sharing services. Bike sharing has gained popularity as a practical and effective means of transportation among commuters, visitors, and residents looking for an eco-friendly way to get about the city.
Sweden's dedication to environmental conservation and sustainability has increased demand for environmentally friendly modes of transportation. Bike sharing is a great fit with the nation's goal of cutting carbon emissions and advancing environmentally friendly transportation options. Consequently, the market for bike sharing has experienced steady expansion, propelled by the rising number of people who place a premium on sustainability when making transportation decisions.
Sweden's tourism business greatly benefits from bike sharing, which provides visitors with an immersive and one-of-a-kind means of seeing the nation's breathtaking scenery, iconic sites, and cultural attractions. Renting bikes allows tourists to take leisurely rides through scenic areas, improving their trip experiences and making lifelong memories.
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Scope For 2024
Brief Introduction to the research report.
Table of Contents (Scope covered as a part of the study)
Top players in the market
Research framework (structure of the report)
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Leading players involved in the Sweden Bike Sharing Market include:
Helbiz (Italy), Green Bike Sweden (Sweden), Nextbike (Germany), Lime (US), Mobike (China), PBSC (BIXI) (Canada), Vaimoo (Italy), Bycyklen (Denmark), Smoove (France), City Bikes (Sweden), Jump (US), Donkey Republic (Denmark), Velove (Sweden), Easymile (France), Malmö by Bike (Sweden), Ofo (China), Voi (Sweden), Citizen (Belgium), Beryl (UK), Mobike (China), and Other Major Players.
Moreover, the report includes significant chapters such as Patent Analysis, Regulatory Framework, Technology Roadmap, BCG Matrix, Heat Map Analysis, Price Trend Analysis, and Investment Analysis which help to understand the market direction and movement in the current and upcoming years.
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Segmentation of Sweden Bike Sharing Market:
By Bike Type
Traditional Bike
E-bike
By Sharing System
Docked
Dockless
By User Type
Tourists and Visitors
Regular Commuters
By Regions: -
North America (US, Canada, Mexico)
Eastern Europe (Bulgaria, The Czech Republic, Hungary, Poland, Romania, Rest of Eastern Europe)
Western Europe (Germany, UK, France, Netherlands, Italy, Russia, Spain, Rest of Western Europe)
Asia Pacific (China, India, Japan, South Korea, Malaysia, Thailand, Vietnam, The Philippines, Australia, New Zealand, Rest of APAC)
Middle East & Africa (Turkey, Bahrain, Kuwait, Saudi Arabia, Qatar, UAE, Israel, South Africa)
South America (Brazil, Argentina, Rest of SA)
Highlights from the report:
Market Study: It includes key market segments, key manufacturers covered, product range offered in the years considered, Global Sweden Bike Sharing Market, and research objectives. It also covers segmentation study provided in the report based on product type and application.
Market Executive Summary: This section highlights key studies, market growth rates, competitive landscape, market drivers, trends, and issues in addition to macro indicators.
Market Production by Region: The report provides data related to imports and exports, revenue, production and key players of all the studied regional markets are covered in this section.
Sweden Bike Sharing Market Profiles of Top Key Competitors: Analysis of each profiled Roll Hardness Tester market player is detailed in this section. This segment also provides SWOT analysis of individual players, products, production, value, capacity, and other important factors.
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France Bike Sharing Market Size, Share, Types, Products, Trends, Growth, Applications and Forecast 2023 to 2030
France Bike Sharing is Expected to Grow at a Significant Growth Rate, and the Forecast Period is 2023-2030, Considering the Base Year as 2022.
The bike sharing market in France has experienced significant growth in recent years, fueled by a combination of increasing urbanization, environmental concerns, and a shift towards sustainable transportation options. France has been at the forefront of promoting cycling infrastructure, with cities like Paris leading the way in implementing bike-sharing programs. These programs offer commuters a convenient and eco-friendly way to navigate city streets, reducing traffic congestion and pollution in the process. Additionally, the proliferation of smartphone apps and IoT technology has made it easier than ever for users to locate, unlock, and rent bikes on-the-go.
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Table of Contents (Scope covered as a part of the study)
Top players in the market
Research framework (structure of the report)
Research methodology adopted by Worldwide Market Reports
Leading players involved in the France Bike Sharing Market include:
"Vélib' (France),Vélo'v (France), Vélo Bleu (France), Bluecub (France), Bicloo (France), Velib' Métropole (France), Pony Bikes (France), Indigo Weel (France), Lime (US), Jump Bikes (US), Bird (US), Tier (Germany), VOI Technology (Sweden), Donkey Republic (Denmark), Dott (Netherlands), Oribiky (France), Zoov (France), BleeperBike (Ireland), Cityscoot (France), Smoove (France) and Other Major Players."
Market Driver:
One major driver of the bike sharing market in France is the government's initiatives to promote sustainable transportation. In response to growing environmental concerns and the need to reduce carbon emissions, the French government has been actively investing in cycling infrastructure and incentivizing bike-sharing programs. Subsidies, tax breaks, and dedicated cycling lanes are just some of the measures implemented to encourage the adoption of cycling as a primary mode of transportation. This supportive regulatory environment has played a crucial role in driving the expansion of bike-sharing services across the country.
Market Opportunity:
An emerging opportunity within the France bike sharing market lies in catering to the growing demand for electric bikes (e-bikes). As consumers increasingly prioritize convenience and accessibility, there is a rising interest in e-bikes due to their ability to assist riders in navigating hilly terrain or covering longer distances with less physical exertion. Introducing e-bikes into existing bike-sharing fleets or launching dedicated e-bike sharing programs could attract a broader demographic of users, including commuters who may have been deterred by the physical demands of traditional biking. Moreover, e-bikes align with the broader trend towards electrification and sustainability, making them a compelling market opportunity for bike-sharing operators in France.
The latest research on the France Bike Sharing market provides a comprehensive overview of the market for the years 2023 to 2030. It gives a comprehensive picture of the global France Bike Sharing industry, considering all significant industry trends, market dynamics, competitive landscape, and market analysis tools such as Porter's five forces analysis, Industry Value chain analysis, and PESTEL analysis of the France Bike Sharing market. Moreover, the report includes significant chapters such as Patent Analysis, Regulatory Framework, Technology Roadmap, BCG Matrix, Heat Map Analysis, Price Trend Analysis, and Investment Analysis which help to understand the market direction and movement in the current and upcoming years. The report is designed to help readers find information and make decisions that will help them grow their businesses. The study is written with a specific goal in mind: to give business insights and consultancy to help customers make smart business decisions and achieve long-term success in their particular market areas.
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Segmentation of France Bike Sharing Market:
By Bike Type
Traditional Bike
E-bike
By Sharing System
Docked
Dockless
By User Type
Tourists and Visitors
Regular Commuters
Key Benefits of France Bike Sharing Market Research:
Research Report covers the Industry drivers, restraints, opportunities and challenges
Competitive landscape & strategies of leading key players
Potential & niche segments and regional analysis exhibiting promising growth covered in the study
Recent industry trends and market developments
Research provides historical, current, and projected market size & share, in terms of value
Market intelligence to enable effective decision making
Growth opportunities and trend analysis
Covid-19 Impact analysis and analysis to France Bike Sharing market
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#France Bike Sharing#France Bike Sharing Market#France Bike Sharing Market Size#France Bike Sharing Market Share#France Bike Sharing Market Growth#France Bike Sharing Market Trend#France Bike Sharing Market segment#France Bike Sharing Market Opportunity#France Bike Sharing Market Analysis 2023#US France Bike Sharing Market#France Bike Sharing Market Forecast#France Bike Sharing Industry#France Bike Sharing Industry Size
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Revolutionizing Adventure Travel: Analysis of the 2023-2027 Bike Car Rack Market
Originally Published on: TechnavioBike Car Rack Market by Distribution Channel, Product and Geography - Forecast and Analysis 2023-2027
The Bike Car Rack Market is set for substantial growth, with an estimated increase of USD 583.46 million between 2022 and 2027, boasting a forecasted CAGR of 6.98%. This surge is credited to factors like heightened vehicle and bicycle safety, a surging demand for adventure tourism, and the growing popularity of cycling.
Anticipated Size of the Bike Car Rack Market During the Forecast Period
The market size, expected to grow at a CAGR of 6.98%, signifies a substantial increase of USD 583.46 million from 2022 to 2027. Deeper insights into this projection can be found in a detailed market report.
Key Drivers, Trends, and Challenges Shaping the Market
In-depth analysis, using 2022 as the base year, unveils key drivers, trends, and challenges crucial for refining marketing strategies. The market's growth is fueled by heightened safety concerns for vehicles and bicycles, fostering a demand for efficient transportation solutions.
Increased Safety Driving Market Growth
The rising cost of off-road bicycles, exceeding USD 215, underscores the necessity for secure transportation. The adoption of bike car racks for safe and efficient transportation sees a surge as improper transportation can damage both the vehicle and the bike.
Emerging Trend: Self-Guided Tours
A rising trend in self-guided tours, especially in Europe and America, is witnessed. Self-guided cycling tours gain popularity due to the flexibility, freedom, and independence they offer. This trend positively impacts bike car rack sales as travelers opt to carry their bicycles on these self-guided adventures.
Major Challenge: Reduced Fuel Efficiency
Despite the market's growth, a significant challenge stems from the reduced fuel efficiency of vehicles. The installation of bike racks contributes to increased vehicle weight, impacting fuel efficiency. Manufacturers are focusing on producing lightweight racks to mitigate adverse effects.
Insights into the Customer Landscape
The market research report delves into the adoption lifecycle, spanning innovators to laggards, offering insights into adoption rates and purchase criteria. Understanding customer preferences is crucial for companies aiming to tailor their growth strategies effectively.
Key Companies and Market Landscape
Major players in the market, including 1UP USA, Allen Sports USA, and Thule Sweden AB, employ diverse strategies such as alliances and mergers to enhance their market presence. A comprehensive understanding of industry dynamics is facilitated by the competitive landscape analysis, including details of 15 market companies.
Largest-Growing Segment: Offline Channels
The offline segment, encompassing specialty stores and hypermarkets, witnesses significant market share growth during the forecast period. Consumers prefer offline channels due to diverse product offerings and competitive pricing, influencing their buying decisions.
Regional Insights: North America at the Forefront
North America is anticipated to contribute 36% to the global market's growth during the forecast period. Slow economic growth and climatic conditions impact consumer spending on automobile accessories. Despite challenges, strategic initiatives provide opportunities for market expansion.
Market Analyst Overview
Catering to outdoor enthusiasts and adventure seekers, the market focuses on providing automotive roof rack solutions. Quality and durability are paramount, ensuring passenger safety during travel. Market growth is propelled by joint ventures, new product launches, and capacity expansions to meet the demands of the tourism sector and recreational travelers.
Segment Overview
The market report forecasts growth at global, regional, and country levels, analyzing trends and opportunities from 2017 to 2027. Innovative solutions, including roof racks for camper vans, contribute to market growth, addressing the needs of the tourism sector and recreational travelers.
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#AdventureTravel#BikeCarRack#MarketAnalysis#TransportationSolutions#OutdoorEnthusiasts#TravelSafety#MarketTrends#GlobalGrowth
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Revolutionizing Urban Mobility: A Comprehensive Analysis of the France Bike Sharing Market (2023-2030)
France Bike Sharing is Expected to Grow at a Significant Growth Rate, and the Forecast Period is 2023-2030, Considering the Base Year as 2022.
The France bike-sharing market has experienced remarkable growth in recent years, propelled by increasing concerns over urban congestion, environmental sustainability, and the promotion of healthier lifestyles. With cities across the country embracing bike-sharing programs as a key component of their transportation networks, the market has witnessed significant expansion and innovation. Companies offering bike-sharing services have introduced diverse models, including docked and dockless systems, catering to the diverse needs of urban commuters and tourists. Government initiatives promoting cycling infrastructure and the integration of bike-sharing with public transportation have further fueled market growth.
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Top Key Players Covered in The France Bike Sharing Market:
Vélib' (France),Vélo'v (France), Vélo Bleu (France), Bluecub (France), Bicloo (France), Velib' Métropole (France), Pony Bikes (France), Indigo Weel (France), Lime (US), Jump Bikes (US), Bird (US), Tier (Germany), VOI Technology (Sweden), Donkey Republic (Denmark), Dott (Netherlands), Oribiky (France), Zoov (France), BleeperBike (Ireland), Cityscoot (France), Smoove (France) and Other Major Players
Updated Version 2023 is available our Sample Report May Includes the:
Scope For 2023
Brief Introduction to the research report.
Table of Contents (Scope covered as a part of the study)
Top players in the market
Research framework (structure of the report)
Research methodology adopted by Worldwide Market Reports
The latest research on the France Bike Sharing Market provides a comprehensive overview of the market for the years 2023 to 2030. It gives a comprehensive picture of the global Avocado Puree industry, considering all significant industry trends, market dynamics, competitive landscape, and market analysis tools such as Porter's five forces analysis, Industry Value chain analysis, and PESTEL analysis of the France Bike Sharing Market. Moreover, the report includes significant chapters such as Patent Analysis, Regulatory Framework, Technology Roadmap, BCG Matrix, Heat Map Analysis, Price Trend Analysis, and Investment Analysis which help to understand the market direction and movement in the current and upcoming years. The report is designed to help readers find information and make decisions that will help them grow their businesses. The study is written with a specific goal in mind: to give business insights and consultancy to help customers make smart business decisions and achieve long-term success in their particular market areas.
Segmentation Analysis Of The France Bike-Sharing Market:
By Bike
By Sharing System
By User
Regular Commuters By Region
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Key Industry Developments in the Bike-Sharing Market:
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Market forecast analysis through recent trends and SWOT analysis
France Bike Sharing Market Dynamics Scenarios with Market Growth Opportunities over the Next Year
Market segmentation analysis, including qualitative and quantitative studies that include economic and non-economic impacts
France Bike Sharing Market Regional and country-level analysis that integrates demand and supply forces that impact the growth of the market.
Competitive environment related to the France Bike Sharing Market share for key players, along with new projects and strategies that players have adopted over the past five years
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We are a technocratic market research and consulting company that provides comprehensive and data-driven market insights. We hold expertise in demand analysis and estimation of multidomain industries with encyclopedic competitive and landscape analysis. Also, our in-depth macroeconomic analysis gives us a bird's eye view of the market for our esteemed client. Our team at Pristine Intelligence focuses on result-oriented methodologies which are based on historic and present data to produce authentic foretelling about the industry. Pristine Intelligence's extensive studies help our clients to make righteous decisions that make a positive impact on their business. Our customer-oriented business model firmly follows satisfactory service through which our brand name is recognized in the market.
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Lithium Ion Battery
The global lithium-ion battery market is anticipated to reach a valuation of US$ 40.7 billion in 2019, with an expected double-digit Compound Annual Growth Rate (CAGR) forecasted for the foreseeable future. The lithium-ion battery sales for 2019 are projected to be around 130 thousand MWh, primarily driven by the rising adoption of electric vehicles, especially in China. Within this landscape, the automotive segment is poised to contribute to over 55% of the total revenue in the global lithium-ion battery market.
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Global Lithium-Ion Battery Market, by Technology Type:
In 2019, the LiFePO segment dominates the global lithium-ion battery market, holding over 70% market share. This technology is predominantly utilized in electric vehicles and industrial applications. Following closely is the NMC segment, with applications ranging from consumer electronics to electric vehicles. LCO technology is predominantly used in various electronic devices like smartphones, tablets, and ultra-thin portable PCs.
Global Lithium-Ion Battery Market Key Developments, Insights, and Trends:
Players in the lithium-ion battery ecosystem are expanding or establishing new production facilities to meet the growing demand for lithium-ion batteries.
In July 2019, Tata Chemicals announced plans to establish a new lithium-ion manufacturing plant in Gujarat, India, to meet the surging demand for electric vehicles in the country.
In April 2019, Micropower Group unveiled plans to expand lithium-ion battery production by establishing a new manufacturing plant in Växjö, Sweden.
Global Lithium-Ion Battery Market, by Region:
The Asia Pacific lithium-ion battery market, particularly China, currently dominates the global market, accounting for a substantial share. China is expected to contribute over 45% of the global market revenue, followed by Japan with approximately 30%. The dominance of China is attributed to the increased adoption of electric buses and bikes, driven by stringent government environmental policies and favorable subsidies. Meanwhile, the European market is projected to experience significant growth during the forecast period, driven by increased production capacity to cater to regional demands for large utility projects, residential storage, and electric vehicles.
Global Lithium-Ion Battery Market Size and Forecast: Competition Landscape:
Key players based in China, such as BYD, TianJin Lishen Battery Joint-Stock CO.,LTD., and Contemporary Amperex Technology Co. Ltd., are expanding their production capacities to meet the growing demand for lithium-ion batteries in electric vehicles. They are also targeting emerging markets such as India and Brazil for revenue opportunities.
In February 2019, BYD Co. Ltd. announced plans to establish a new 20 GWh electric vehicle battery manufacturing facility in Chongqing Municipality, China, with an estimated investment of approximately US$ 1.5 billion.
South Korea-based companies are focusing on expanding their presence in Southeast Asian countries, while Europe-based companies are concentrating on enhancing their production capacity.
Some key Lithium-Ion Battery market players include:
LG Chem Ltd.
Samsung SDI Co. Ltd
Tesla, Inc.
BYD Co. Ltd.
Contemporary Amperex Technology Co. Limited
Johnson Controls International plc
TianJin Lishen Battery Joint-Stock CO.,LTD.
Sony Corporation
Sanyo Panasonic
Saft Groupe S.A.
Duracell Inc.
Guoxuan High-tech Co. Ltd.
OptimumNano Co. Ltd.
First New Energy
Research Scope:
By Product Type:
Cylindrical
Prismatic
Laminate
By Technology Type:
LiFePO
NMC
NCA
LCO
LMO
LTO
By Application:
Automotive
E-bikes
Cellular Phones
Portable PCs
Tablets
Camcorders
Power Tools
Others
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Bike Bags Market Detailed Strategies, Competitive Landscaping and Developments for next 5 years
Instead of a big bag swinging off the side of a rack, the current era of bikepacking bags is lashed to the bike’s frame, taking advantage of otherwise unused space. The shift in load distributes the weight, increases usability, and stabilizes the bike. It offers three bag collections such touring, road, and offroad.
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Latest released the research study on Global Bike Bags Market, offers a detailed overview of the factors influencing the global business scope. Bike Bags Market research report shows the latest market insights, current situation analysis with upcoming trends and breakdown of the products and services. The report provides key statistics on the market status, size, share, growth factors of the Bike Bags The study covers emerging player’s data, including: competitive landscape, sales, revenue and global market share of top manufacturers are Ortlieb Sportartikel GmbH (Germany), Trek Bicycle Corporation (United States), Timbuk2 (United States), Scicon (Italy), Thule Group AB (Sweden), VAUDE (Germany), Apidura (United Kingdom), Roswheel (China) , BASIL (Netherland)
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Automotive Tubeless Tires Market to grow by CAGR of ~6% During 2022-2031
Research Nester published a report titled “Automotive Tubeless Tires Market: Global Demand Analysis & Opportunity Outlook 2031” which delivers detailed overview of the global automotive tubeless tires marketin terms of market segmentation by type, vehicle type, distribution channel, and by region.
Further, for the in-depth analysis, the report encompasses the industry growth indicators, restraints, supply and demand risk, along with detailed discussion on current and future market trends that are associated with the growth of the market.
The global automotive tubeless tires market is anticipated to grow with a CAGR of 6% over the forecast period, i.e., 2022 – 2031. The market is segmented by vehicle type into two wheelers, passenger cars, and commercial vehicles. Out of this, passenger car segment is anticipated to garner significant revenue in the coming years on account of the adoption of electric vehicles, an increase in the number of passenger cars in developing countries, and an increase in per capita income. In the U.S. economy from 1870 to 2018, the GDP per person has grown at ~2% per year with very short deviations. By selling 3 million new passenger cars, China boosted its sales to 170% in 2021.
The global automotive tubeless tires market is estimated to garner a revenue of USD 240 Billion by the end of 2031, up from a revenue of USD 190 million in the year 2021. Increased raise of two-wheelers, a prominent decline of flat tires with decreased repair facilities, increased production of vehicles with tubeless tires are some major factors anticipated to drive the growth of market size in the forecast period.
Geographically, the global automotive tubeless tires market is studied into five major regions including North America, Europe, Asia Pacific, Latin America and Middle East & Africa region. Out of these, The Asia Pacific region is projected to garner significant revenue by the end of 2031. The sales of passenger cars in the Asia Pacific and Middle East were estimated to be 33 million cars in 2021 with 20 million cars from China.
The research is global in nature and covers detailed analysis on the market in North America (U.S., Canada), Europe (U.K., Germany, France, Italy, Spain, Hungary, Belgium, Netherlands & Luxembourg, NORDIC [Finland, Sweden, Norway, Denmark], Poland, Turkey, Russia, Rest of Europe), Latin America (Brazil, Mexico, Argentina, Rest of Latin America), Asia-Pacific (China, India, Japan, South Korea, Indonesia, Singapore, Malaysia, Australia, New Zealand, Rest of Asia-Pacific), Middle East and Africa (Israel, GCC [Saudi Arabia, UAE, Bahrain, Kuwait, Qatar, Oman], North Africa, South Africa, Rest of Middle East and Africa). In addition, analysis comprising market size, Y-O-Y growth & opportunity analysis, market players’ competitive study, investment opportunities, demand for future outlook etc. has also been covered and displayed in the research report.
Surge in Advancements of Technology for Safety and Reliability to Drive Market Growth
Electric vehicles are on boost with electric bikes and cars trending in the market with the advancement of electric batteries in place of fuel. The sales share of new electric cars grew from 1% in 2015 to 14% in 2020. The advancement of this technology in the tire manufacturing industry is estimated to drive the growth opportunities of the market. These tubeless tires are turned into intelligent tires with eco-friendly, and safer with more shelf life. The new advancement includes a self-sealing option where the puncture closes on its own with a squirt of liquid. This helps to reduce fuel costs and expenses in the market and aids in the conservation of fuel reserves. The consumption of fuel is reduced by 0.2% for four tires for one pound of pressure decrease. And milage can be increased by an average of 0.6% up to 3%.
However, high price of raw materials, shortage of supply, and ban of import and export which are expected to operate as key restraint to the growth of global automotive tubeless tires market over the forecast period.
This report also provides the existing competitive scenario of some of the key players of the global automotive tubeless tires market which includes company profiling of The Goodyear Tyre & Rubber Company, Bridgestone Corporation, Continental AG, MICHELIN Group, MRF (Madras Rubber Factory), Pirelli Tyre & C.S.p.A, Copper Tire & Rubber Company, CEAT Ltd., Yokohama Tire Corporation, Toyo Tire Corporation. The profiling enfolds key information of the companies which encompasses business overview, products and services, key financials and recent news and developments. On the whole, the report depicts detailed overview of the global automotive tubeless tires market that will help industry consultants, equipment manufacturers, existing players searching for expansion opportunities, new players searching possibilities and other stakeholders to align their market centric strategies according to the ongoing and expected trends in the future.
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Which gear consumes less fuel in bike?
Bicycles have been a popular mode of transportation and recreation around the world for over a century. While they have been superseded in many developed countries by cars and other motorised vehicles, they remain popular in many parts of the world. Here are some of the countries where bicycles are still widely Used bike in Bangalore.
China:
With over 450 million bicycles, China is the world's largest bicycle market. Bicycles are a popular mode of transportation for short trips and commuting, particularly in crowded urban areas.
Netherlands:
The Netherlands is famous for its extensive network of bike paths and bike-friendly streets. Cycling is a popular mode of transportation for both short and long trips, and many Dutch people use bicycles to commute to work or school.
Denmark:
Denmark is another country that is famous for its bike culture. Bicycles are a popular mode of transportation, and Copenhagen, the capital city, has been named the most bike-friendly city in the world multiple times.
Germany:
In Germany, bicycles are a popular mode of transportation and recreation. Many cities have well-developed bike lanes and cycling paths, and many Germans use bicycles for commuting and recreational activities.
Japan:
Bicycles are a popular mode of transportation in Japan, particularly for short trips and commuting. Many Japanese people also enjoy cycling as a recreational activity, and there are many scenic bike paths throughout the country.
Vietnam:
Bicycles are a common mode of transportation in Vietnam, particularly in rural areas. Many people use bicycles to transport goods or to commute to work or school.
Sweden:
In Sweden, bicycles are a popular mode of transportation for both short and long trips. Many cities have bike-sharing programs, and the country has a well-developed bike lane network.
Switzerland:
In Switzerland, bicycles are a popular mode of transportation and recreation. Many Swiss cities have well-developed bike lane networks, and cycling is a common activity for both locals and tourists.
India:
In India, bicycles are a common mode of transportation for both short and long trips. They are particularly popular in rural areas, where many people use them to transport goods or to commute to work or school.
United Kingdom:
In the United Kingdom, bicycles are a popular mode of transportation for short trips and commuting. Many cities have well-developed bike lane networks, and the country has a strong cycling culture.
Overall, bicycles remain popular in many parts of the world, particularly in countries with crowded urban areas or where motorised transportation is expensive or difficult to access. In recent years, there has been a renewed interest in bicycles as a sustainable mode of transportation, and many cities around the world are investing in bike infrastructure to encourage cycling as a healthy and eco-friendly alternative to cars.
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Denmark Bike Sharing Market: Forthcoming Trends and Share Analysis by 2030
The Denmark Bike Sharing is Expected to Grow at a Significant Growth Rate, and the Forecast Period is 2023-2030, Considering the Base Year as 2022.
In Denmark, the bike-sharing market has experienced significant growth due to the country's emphasis on sustainability, urban planning, and the promotion of healthy lifestyles. With its well-established cycling infrastructure and environmentally conscious population, Denmark serves as an ideal environment for bike-sharing services to thrive. Companies offering bike-sharing services have capitalized on this demand by providing convenient and affordable solutions for both residents and tourists alike. The market is characterized by fierce competition among various providers, each striving to offer innovative features and improve user experience.
Denmark is renowned for its cycling-friendly infrastructure and culture. Cities like Copenhagen and Aarhus have extensive networks of bike lanes, dedicated cycling bridges, and traffic signals tailored for cyclists. This cycling-friendly environment has contributed to a high level of bike usage among residents and tourists alike.
The Danish government has consistently supported cycling initiatives as part of its broader sustainability agenda. Policies aimed at promoting cycling include investments in infrastructure development, subsidies for bike purchases, and financial incentives for businesses to encourage employee cycling.
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Scope For 2024
Brief Introduction to the research report.
Table of Contents (Scope covered as a part of the study)
Top players in the market
Research framework (structure of the report)
Research methodology adopted by Worldwide Market Reports
Leading players involved in the Denmark Bike Sharing Market include:
Bycyklen (Denmark), Donkey Republic (Denmark), Jump Bikes (US), Voi (Sweden), Gomore (Denmark), Swapfiets (Netherlands), Freebike (Denmark), Easymile (France), Mobike (China), Ofo (China), Lime (US), Bird (US), Citi Bike (US), Nextbike (Germany), Santander Cycles (UK), Deezer Nextbike (Germany), YouBike (Taiwan), Nice Ride Minnesota (US), CoGo (UK), Bolt Bikes (Australia), and Other Major Players
Moreover, the report includes significant chapters such as Patent Analysis, Regulatory Framework, Technology Roadmap, BCG Matrix, Heat Map Analysis, Price Trend Analysis, and Investment Analysis which help to understand the market direction and movement in the current and upcoming years.
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Segmentation of Denmark Bike Sharing Market:
By Bike Type
Traditional Bike
E-bike
By Sharing System
Docked
Dockless
By User Type
Tourists and Visitors
Regular Commuters
Highlights from the report:
Market Study: It includes key market segments, key manufacturers covered, product range offered in the years considered, Global Denmark Bike Sharing Market, and research objectives. It also covers segmentation study provided in the report based on product type and application.
Market Executive Summary: This section highlights key studies, market growth rates, competitive landscape, market drivers, trends, and issues in addition to macro indicators.
Market Production by Region: The report provides data related to imports and exports, revenue, production and key players of all the studied regional markets are covered in this section.
Denmark Bike Sharing Market Profiles of Top Key Competitors: Analysis of each profiled Roll Hardness Tester market player is detailed in this section. This segment also provides SWOT analysis of individual players, products, production, value, capacity, and other important factors.
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#Denmark Bike Sharing#Denmark Bike Sharing Market#Denmark Bike Sharing Market Size#Denmark Bike Sharing Market Share#Denmark Bike Sharing Market Growth#Denmark Bike Sharing Market Trend#Denmark Bike Sharing Market segment#Denmark Bike Sharing Market Opportunity#Denmark Bike Sharing Market Analysis 2024
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E-Scooter Sharing Market Unidentified Segments – The Biggest Opportunity Of 2022
Advance Market Analytics released a new market study on Global E-Scooter Sharing Market Research report which presents a complete assessment of the Market and contains a future trend, current growth factors, attentive opinions, facts, and industry validated market data. The research study provides estimates for Global E-Scooter Sharing Forecast till 2027*.
E-Scooter-sharing system is a shared transportation service that makes electric motorised scooters available for short-term rentals. E-scooters are typically "dockless," which means they do not have a fixed home location and are dropped off and picked up at various points throughout the service area. E-scooter sharing envisions an easy-to-use mode of transportation that ensures last-mile mobility. The rising popularity of shared mobility via ride-hailing has paved the way for shared e-scooters. Electric scooters are smaller in size and require less parking space. As a result, both governments and e-scooter sharing service providers are encouraging daily commuters to use e-scooter sharing services as a more cost-effective, convenient, and convenient mode of transportation. The majority of providers provide dockless, free-floating services, eliminating the need to pick up and return e-scooters to specific locations.
Key Players included in the Research Coverage of E-Scooter Sharing Market are
Neutron Holdings Inc. (Lime) (United States)
Bird Rides Inc. (Bird) (United States)
Yulu Bikes Pvt Ltd (India)
Social Bicycles (United States)
Voi Technology AB (Sweden)
Bounce (India)
Bolt Technology OÜ (Estonia)
Beam Mobility Holdings Pte. Ltd. (Singapore)
TIER Mobility (Germany)
Spin (United States)
FREE NOW (Germany)
What's Trending in Market: Technological Advancement In E-Scooter Sharing
Challenges: Intense Competition Among Player
Opportunities: Increasing Adoption Of Electric Scooter Sharing Services In Developed Countries
Market Growth Drivers: Increasing Incentives Are Boosting The Adoption Of Battery-Operated Two-Wheelers
Increasing The Demand Of Energy-Efficient Automobiles Fuel The Growth For Market
The Global E-Scooter Sharing Market segments and Market Data Break Down by End Use (Commercial, Personal), Parking Models (Free floating, Geo-fenced station, Physical stations), Hire Period (Short Term Rental, Longer Term Rental)
To comprehend Global E-Scooter Sharing market dynamics in the world mainly, the worldwide E-Scooter Sharing market is analyzed across major global regions. AMA also provides customized specific regional and country-level reports for the following areas.
• North America: United States, Canada, and Mexico.
• South & Central America: Argentina, Chile, Colombia and Brazil.
• Middle East & Africa: Saudi Arabia, United Arab Emirates, Israel, Turkey, Egypt and South Africa.
• Europe: United Kingdom, France, Italy, Germany, Spain, Belgium, Netherlands and Russia.
• Asia-Pacific: India, China, Japan, South Korea, Indonesia, Malaysia, Singapore, and Australia.
Presented By
AMA Research & Media LLP
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France Bike Sharing Market Size, Share, Types, Products, Trends, Growth, Applications and Forecast 2023 to 2030
France Bike Sharing is Expected to Grow at a Significant Growth Rate, and the Forecast Period is 2023-2030, Considering the Base Year as 2022.
The bike sharing market in France has experienced significant growth in recent years, fueled by a combination of increasing urbanization, environmental concerns, and a shift towards sustainable transportation options. France has been at the forefront of promoting cycling infrastructure, with cities like Paris leading the way in implementing bike-sharing programs. These programs offer commuters a convenient and eco-friendly way to navigate city streets, reducing traffic congestion and pollution in the process. Additionally, the proliferation of smartphone apps and IoT technology has made it easier than ever for users to locate, unlock, and rent bikes on-the-go.
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Brief Introduction to the research report.
Table of Contents (Scope covered as a part of the study)
Top players in the market
Research framework (structure of the report)
Research methodology adopted by Worldwide Market Reports
Leading players involved in the France Bike Sharing Market include:
"Vélib' (France),Vélo'v (France), Vélo Bleu (France), Bluecub (France), Bicloo (France), Velib' Métropole (France), Pony Bikes (France), Indigo Weel (France), Lime (US), Jump Bikes (US), Bird (US), Tier (Germany), VOI Technology (Sweden), Donkey Republic (Denmark), Dott (Netherlands), Oribiky (France), Zoov (France), BleeperBike (Ireland), Cityscoot (France), Smoove (France) and Other Major Players."
Market Driver:
One major driver of the bike sharing market in France is the government's initiatives to promote sustainable transportation. In response to growing environmental concerns and the need to reduce carbon emissions, the French government has been actively investing in cycling infrastructure and incentivizing bike-sharing programs. Subsidies, tax breaks, and dedicated cycling lanes are just some of the measures implemented to encourage the adoption of cycling as a primary mode of transportation. This supportive regulatory environment has played a crucial role in driving the expansion of bike-sharing services across the country.
Market Opportunity:
An emerging opportunity within the France bike sharing market lies in catering to the growing demand for electric bikes (e-bikes). As consumers increasingly prioritize convenience and accessibility, there is a rising interest in e-bikes due to their ability to assist riders in navigating hilly terrain or covering longer distances with less physical exertion. Introducing e-bikes into existing bike-sharing fleets or launching dedicated e-bike sharing programs could attract a broader demographic of users, including commuters who may have been deterred by the physical demands of traditional biking. Moreover, e-bikes align with the broader trend towards electrification and sustainability, making them a compelling market opportunity for bike-sharing operators in France.
The latest research on the France Bike Sharing market provides a comprehensive overview of the market for the years 2023 to 2030. It gives a comprehensive picture of the global France Bike Sharing industry, considering all significant industry trends, market dynamics, competitive landscape, and market analysis tools such as Porter's five forces analysis, Industry Value chain analysis, and PESTEL analysis of the France Bike Sharing market. Moreover, the report includes significant chapters such as Patent Analysis, Regulatory Framework, Technology Roadmap, BCG Matrix, Heat Map Analysis, Price Trend Analysis, and Investment Analysis which help to understand the market direction and movement in the current and upcoming years. The report is designed to help readers find information and make decisions that will help them grow their businesses. The study is written with a specific goal in mind: to give business insights and consultancy to help customers make smart business decisions and achieve long-term success in their particular market areas.
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Segmentation of France Bike Sharing Market:
By Bike Type
Traditional Bike
E-bike
By Sharing System
Docked
Dockless
By User Type
Tourists and Visitors
Regular Commuters
Reasons for Acquiring this Report:
1. Strategic Decision-Making for Government Leaders and Politicians:
Gain insights into the global France Bike Sharing Market Growth 2023-2030 market revenues at global, regional, and national levels until 2030.
Assess and strategize market share based on comprehensive analysis, enabling informed decision-making.
Identify potential markets for exploration and expansion.
2. Informed Decision-Making for Professionals and Product Developers:
Access a detailed breakdown of the France Bike Sharing Market Growth 2023-2030 market worldwide, including product variations, use cases, technologies, and final consumers.
Allocate resources effectively by anticipating demand patterns for emerging products.
Stay ahead in product development by understanding market dynamics and consumer preferences.
3. Strategic Planning for Sales Managers and Market Stakeholders:
Utilize market breakdowns to target specific segments, optimizing sales strategies.
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Mitigate threats effectively with a comprehensive understanding of market risks.
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Analyze primary drivers, challenges, restrictions, and opportunities in the global Laboratory Clothes market.
Develop effective strategies by gaining insights into market dynamics.
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5. Competitive Intelligence:
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6. Accurate Business Forecasting:
Evaluate the accuracy of global France Bike Sharing Market Growth 2023-2030 business forecasts across regions, major countries, and top enterprises.
Make data-driven decisions with confidence, minimizing risks associated with inaccurate forecasts.
Stay ahead of industry trends by aligning business strategies with reliable forecasts.
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Right Bhusari Colony,
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Email: [email protected]
#France Bike Sharing#France Bike Sharing Market#France Bike Sharing Market Size#France Bike Sharing Market Share#France Bike Sharing Market Growth#France Bike Sharing Market Trend#France Bike Sharing Market segment#France Bike Sharing Market Opportunity#France Bike Sharing Market Analysis 2023#US France Bike Sharing Market#France Bike Sharing Market Forecast#France Bike Sharing Industry#France Bike Sharing Industry Size
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Electric Bike Batteries Market (2022-2030)
Download Sample Report PDF >>> https://lnkd.in/d7UNT2zf
The Electric Bike Batteries market study provides details of latest enhancements, trade regulations, strategic value chain, market share, impact of established and emerging market players, analyses gaps in terms of untapped business segments, regional territory and regulations, growth analysis pattern, driving forces, new developments, influencing trends, innovations and challenges in the market.
Electric Bike Batteries Competitive Landscape:
In this section of the Electric Bike Batteries Market study, major as well as developing players of the Electric Bike Batteries market are studied deeply and elaborates in-depth statistics, market share, rank, relevant insights covering drivers & restraining factors to estimate future growth prospects. It also offers detailed analysis supported by accurate market revenue data, key financial metrics by player and their SWOT analysis.
Electric Bike Batteries Market Scope and Market Breakdown:
Electric Bike Batteries market is segmented on the basis of type, end-use application and distribution channels. The value and growth among segments help businesses grow by investing in targeted and qualified niche segments.
Players Profiled in the Electric Bike Batteries Market Study:
MK Battery
Johnson Controls
Exide Technologies
EnerSys
GS Yuasa
LG Chem
Sony
Samsung
Panasonic
AJC Batteries
Sunwoda Electronic
Shenzhen Desay Battery
Veson Holdings
Simplo Technology
Dynapack International Technology
Pride Mobility
OptimumNano Energy
Yoku Energy Technology
Sunbright Power
By Type, Electric Bike Batteries market has been segmented into:
Lead Acid Batteries
Nickel-cadmium Batteries
Nickel-metal Hydride Batteries
Lithium-ion Batteries
By Applications, Electric Bike Batteries market has been segmented into on:
Electrically Assisted Bike
Full Electric Bike
Channel:
By Channels, Market has been segmented into
Direct Sales, Distribution Channel
Regional & Country Analysis:
North America Country (United States, Canada)
South America (Brazil, Argentina, Peru, Chile, Rest of South America)
Asia-Pacific (China, Japan, India, South Korea, Australia, Singapore, Malaysia, Indonesia, Philippines, Thailand, Vietnam, Others)
Europe (Germany, United Kingdom, France, Italy, Spain, Switzerland, Netherlands, Austria, Sweden, Norway, Belgium, Rest of Europe)
Rest of World [GCC, South Africa, Egypt, Turkey, Israel, Others]
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A bathroom figures significantly in the origin stories of at least two classic One Direction songs. The first will be familiar to any fan: Songwriter and producer Savan Kotecha was sitting on the toilet in a London hotel room, when he heard his wife say, “I feel so ugly today.” The words that popped into his head would shape the chorus of One Direction’s unforgettable 2011 debut, “What Makes You Beautiful.”
The second takes place a few years later. Another hotel room in England — this one in Manchester — where songwriters and producers Julian Bunetta and John Ryan were throwing back Cucumber Collins cocktails and tinkering with a beat. Liam Payne was there, too. At one point, Liam got up to use the bathroom and when he re-emerged, he was singing a melody. They taped it immediately. Most of it was mumbled — a temporary placeholder — but there was one phrase: “Better than words…” A few hours later, on the bus to another city, another show — Bunetta and Ryan can’t remember where — Payne asked, maybe having a laugh, what if the rest of the song was just lyrics from other songs?
“Songs in general, you’re just sort of waiting for an idea to bonk you on the head,” Ryan says from a Los Angeles studio with Bunetta. “And if you’re sort of winking at it, laughing at it — we were probably joking, what if [the next line was] ‘More than a feeling’? Well, that would actually be tight!”
“Better Than Words,” closed One Direction’s third album, Midnight Memories. It was never a single, but became a fan-favorite live show staple. It’s a mid-tempo headbanger that captures the essence of what One Direction is, and always was: One of the great rock and roll bands of the 21st century.
July 23rd marks One Direction’s 10th anniversary, the day Simon Cowell told Harry Styles, Niall Horan, Zayn Malik, Liam Payne and Louis Tomlinson that they would progress on The X Factor as a group. Between that date and their last live performance (so far, one can hope) on December 31st, 2015, they released five albums, toured the world four times — twice playing stadiums — and left a trove of Top 10 hits for a devoted global fan base that came to life at the moment social media was re-defining the contours of fandom.
It’d been a decade since the heyday of ‘N Sync and Backstreet Boys, and the churn of generations demanded a new boy band. One Direction’s songs were great and their charisma and chemistry undeniable, but what made them stick was a sound unlike anything else in pop — rooted in guitar rock at a time when that couldn’t have been more passé.
Kotecha, who met 1D on The X Factor and shepherded them through their first few years, is a devoted student of boy band history. He first witnessed their power back in the Eighties when New Kids on the Block helped his older sister through her teens. The common thread linking all great boy bands, from New Kids to BSB, he says, is, “When they’d break, they’d come out of nowhere, sounding like nothing that’s on the radio.”
In 2010, Kotecha remembers, “everybody was doing this sort of Rihanna dance pop.” But that just wasn’t a sound One Direction could pull off (the Wanted only did it once); and famously, they didn’t even dance. Instead, the reference points for 1D went all the way back to the source of contemporary boy bands.
“Me and Simon would talk about how [One Direction] was Beatles-esque, Monkees-esque,” Kotecha continues. “They had such big personalities. I felt like a kid again when I was around them. And I felt like the only music you could really do that with is fun, pop-y guitar songs. It would come out of left field and become something owned by the fans.”
“The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” says Carl Falk
To craft that sound on 1D’s first two albums, Up All Night and Take Me Home, Kotecha worked mostly with Swedish songwriters-producers Carl Falk and Rami Yacoub. They’d all studied at the Max Martin/Cheiron Studios school of pop craftsmanship, and Falk says they were confident they could crack the boy band code once more with songs that recalled BSB and ‘N Sync, but replaced the dated synths and pianos with guitars.
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The greatest thing popular music can do is make someone else think, “I can do that,” and One Direction’s music was designed with that intent. “The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” Falk says. “If you listen to ‘What Makes You Beautiful’ or ‘One Thing,’ they have two-finger guitar riffs that everyone who can play a bit of guitar can learn. That was all on purpose.”
One Direction famously finished third on The X Factor, but Cowell immediately signed them to his label, Syco Music. They’d gone through one round of artist development boot camp on the show, and another followed on an X Factor live tour in spring 2011. They’d developed an onstage confidence, but the studio presented a new challenge. “We had to create who should do what in One Direction,” Falk says. To solve the puzzle the band’s five voices presented, they chose the kitchen sink method and everyone tried everything.
“They were searching for themselves,” Falk adds. “It was like, Harry, let’s just record him; he’s not afraid of anything. Liam’s the perfect song starter, and then you put Zayn on top with this high falsetto. Louis found his voice when we did ‘Change Your Mind.’ It was a long trial for everyone to find their strengths and weaknesses, but that was also the fun part.” Falk also gave Niall some of his first real guitar lessons; there’s video of them performing “One Thing” together, still blessedly up on YouTube.
“What Makes You Beautiful” was released September 11th, 2011 in the U.K. and debuted at Number One on the singles chart there — though the video had dropped a month prior. While One Direction’s immediate success in the U.K. and other parts of Europe wasn’t guaranteed, the home field odds were favorable. European markets have historically been kinder to boy bands than the U.S.; ‘N Sync and Backstreet Boys found huge success abroad before they conquered home. To that end, neither Kotecha nor Falk were sure 1D would break in the U.S. Falk even says of conceiving the band’s sound, “We didn’t want it to sound too American, because this was not meant — for us, at least — to work in America. This was gonna work in the U.K. and maybe outside the U.K.”
Stoking anticipation for “What Makes You Beautiful” by releasing the video on YouTube before the single dropped, preceded the strategy Columbia Records (the band’s U.S. label) adopted for Up All Night. Between its November 2011 arrival in the U.K. and its U.S. release in March 2012, Columbia eschewed traditional radio strategies and built hype on social media. One Direction had been extremely online since their X Factor days, engaging with fans and spending their downtime making silly videos to share. One goofy tune, made with Kotecha, called “Vas Happenin’ Boys?” was an early viral hit.
“They instinctively had this — and it might just be a generational thing — they just knew how to speak to their fans,” Kotecha says. “And they did that by being themselves. That was a unique thing about these boys: When the cameras turned on, they didn’t change who they were.”
Social media was flooded with One Direction contests and petitions to bring the band to fans’ towns. Radio stations were inundated with calls to play “What Makes You Beautiful” long before it was even available. When it did finally arrive, Kotecha (who was in Sweden at the time) remembers staying up all night to watch it climb the iTunes chart with each refresh.
Take Me Home, was recorded primarily in Stockholm and London during and after their first world tour. The success of Up All Night had attracted an array of top songwriting talent — Ed Sheeran even penned two hopeless romantic sad lad tunes, “Little Things” and “Over Again” — but Kotecha, Falk and Yacoub grabbed the reins, collaborating on six of the album’s 13 tracks. In charting their course, Kotecha returned to his boy band history: “My theory was, you give them a similar sound on album two, and album three is when you start moving on.”
Still, there was the inherent pressure of the second album to contend with. The label wanted a “What Makes You Beautiful, Part 2,” and evidence that the 1D phenomenon wasn’t slowing down appeared outside the window of the Stockholm studio: so many fans, the street had to be shut down. Kotecha even remembers seeing police officers with missing person photos, combing through the girls camped outside, looking for teens to return to their parents.
At this pivotal moment, One Direction made it clear that they wanted a greater say in their artistic future. Kotecha admits he was wary at first, but the band was determined. To help manage the workload, Kotecha had brought in two young songwriters, Kristoffer Fogelmark and Albin Nedler, who’d arrived with a handful of ideas, including a chorus for a booming power ballad called “Last First Kiss.”
“We thought, while we’re busy recording vocals, whoever’s not busy can go write songs with these two guys, and then we’ll help shape them as much as we can,” Kotecha says. “And to our pleasant surprise, the songs were pretty damn good.”
At this pivotal moment, too, songwriters Julian Bunetta and John Ryan also met the band. Friends from the Berklee College of Music, Bunetta and Ryan had moved out to L.A. and cut a few tracks, but still had no hits to their name. They entered the Syco orbit after scoring work on the U.S. version of The X Factor, and were asked if they wanted to try writing a song for Take Me Home. “I was like, yeah definitely,” Bunetta says. “They sold five million albums? Hell yeah, I want to make some money.”
Working with Jamie Scott, who’d written two songs on Up All Night (“More Than This” and “Stole My Heart”), Bunetta and Ryan wrote “C’mon, C’mon” — a blinding hit of young love that rips down a dance pop speedway through a comically oversized wall of Marshall stacks. It earned them a trip to London. Bunetta admits to thinking the whole 1D thing was “a quick little fad” ahead of their first meeting with the band, but their charms were overwhelming. Everyone hit it off immediately.
“Niall showed me his ass,” Bunetta remembers of the day they recorded, “They Don’t Know About Us,” one of five songs they produced for Take Me Home (two are on the deluxe edition). “The first vocal take, he went in to sing, did a take, I was looking down at the computer screen and was like, ‘On this line, can you sing it this way?’ And I looked over and he was mooning me. I was like, ‘I love this guy!’”
Take Me Home dropped November 9th, just nine days short of Up All Night’s first anniversary. With only seven weeks left in 2012, it became the fourth best-selling album of the year globally, moving 4.4 million copies, per the IFPI; it fell short of Adele’s 21, Taylor Swift’s Red and 1D’s own Up All Night, which had several extra months to sell 4.5 million copies.
Kotecha, Falk and Yacoub’s tracks anchored the album. Songs like “Kiss You,” “Heart Attack” and “Live While We’re Young” were pristine pop rock that One Direction delivered with full delirium, vulnerability and possibility — the essence of the teen — in voices increasingly capable of navigating all the little nuances of that spectrum. And the songs 1D helped write (“Last First Kiss,” “Back for You” and “Summer Love”) remain among the LP’s best.
“You saw that they caught the bug and were really good at it,” Kotecha says of their songwriting. “And moving forward, you got the impression that that was the way for them.”
Like clockwork, the wheels began to churn for album three right after Take Me Home dropped. But unlike those first two records, carving out dedicated studio time for LP3 was going to be difficult — on February 23rd, 2013, One Direction would launch a world tour in London, the first of 123 concerts they’d play that year. They’d have to write and record on the road, and for Kotecha and Falk — both of whom had just had kids — that just wasn’t possible.
But it was also time for a creative shift. Even Kotecha knew that from his boy band history: album three is, after all, when you start moving on. One Direction was ready, too. Kotecha credits Louis, the oldest member of the group, for “shepherding them into adulthood, away from the very pop-y stuff of the first two albums. He was leading the charge to make sure that they had a more mature sound. And at the time, being in it, it was a little difficult for me, Rami and Carl to grasp — but hindsight, that was the right thing to do.”
“For three years, this was our schedule,” Bunetta says. “We did X Factor October, November, December. Took off January. February, flew to London. We’d gather ideas with the band, come up with sounds, hang out. Then back to L.A. for March, produce some stuff, then go out on the road with them in April. Get vocals, write a song or two, come back for May, work on the vocals, and produce the songs we wrote on the road. Back to London in June-ish. Back here for July, produce it up. Go back on tour in August, get last bits of vocals, mix in September, back to X Factor in October, album out in November, January off, start it all over again.”
That cycle began in early 2013 when Bunetta and Ryan flew to London for a session that lasted just over a week, but yielded the bulk of Midnight Memories. With songwriters Jamie Scott, Wayne Hector and Ed Drewett they wrote “Best Song Ever” and “You and I,” and, with One Direction, “Diana” and “Midnight Memories.” Bunetta and Ryan’s initial rapport with the band strengthened — they were a few years older, but as Bunetta jokes, “We act like we’re 19 all the time anyway.” Years ago, Bunetta posted an audio clip documenting the creation of “Midnight Memories” — the place-holder chorus was a full-throated, perfectly harmonized, “I love KFC!”
For the most part, Bunetta, Ryan and 1D doubled down on the rock sound their predecessors had forged, but there was one outlier from that week. A stunning bit of post-Mumford festival folk buoyed by a new kind of lyrical and vocal maturity called “Story of My Life.”
“This was a make or break moment for them,” Bunetta says. “They needed to grow up, or they were gonna go away — and they wanted to grow up. To get to the level they got to, you need more than just your fan base. That song extended far beyond their fan base and made people really pay attention.”
Production on Midnight Memories continued on the road, where, like so many bands before them, One Direction unlocked a new dimension to their music. Tour engineer Alex Oriet made it possible, Ryan says, building makeshift vocal booths in hotel rooms by flipping beds up against the walls. Writing and recording was crammed in whenever — 20 minutes before a show, or right after another two-hour performance.
“It preserved the excitement of the moment,” Bunetta says. “We were just there, doing it, marinating in it at all times. You’re capturing moments instead of trying to recreate them. A lot of times we’d write a song, sing it in the hotel, produce it, then fly back out to have them re-sing it — and so many times the demo vocals were better. They hadn’t memorized it yet. They were still in the mood. There was a performance there that you couldn’t recreate.”
Midnight Memories arrived, per usual, in November 2013. And, per usual, it was a smash. The following year, 1D brought their songs to the environment they always deserved — stadiums around the world — and amid the biggest shows of their career, they worked on their aptly-titled fourth album Four. The 123 concerts 1D had played the year before had strengthened their combined vocal prowess in a way that opened up an array of new possibilities.
“We could use their voices on Four to make something sound more exciting and bigger, rather than having to add too many guitars, synths or drums,” Ryan says.
“They were so much more dynamic and subtle, too,” Bunetta adds. “I don’t think they could’ve pulled off a song like ‘Night Changes’ two albums prior; or the nuance to sing soft and emotionally on ‘Fireproof.’ It takes a lot of experience to deliver a restrained vocal that way.”
“A lot of the songs were double,” Bunetta says, “like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”
Musically, Four was 1D’s most expansive album yet — from the sky-high piano rock of “Steal My Girl” to the tender, tasteful groove of “Fireproof” — and it had the emotional range to match. Now in their early twenties, songs like “Where Do Broken Hearts Go,” “No Control,” “Fool’s Gold” and “Clouds” redrew the dramas and euphorias of adolescence with the new weight, wit and wanton winks of impending adulthood. One Direction wasn’t growing up normally in any sense of the word, but they were becoming songwriters capable of drawing out the most relatable elements from their extraordinary circumstances — like on “Change Your Ticket,” where the turbulent love affairs of young jet-setters are distilled to the universal pang of a long goodbye. There were real relationships inspiring these stories, but now that One Direction was four years into being the biggest band on the planet, it was natural that the relationships within the band would make it into the music as well.
“I think that on Four,” Bunetta says with a slight pause, “there were some tensions going on. A lot of the songs were double — like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”
He continues: “It’s tough going through that age, having to spread your wings with so many eyeballs on you, so much money and no break. It was tough for them to carve out their individual manhood, space and point of view, while learning how to communicate with each other. Even more than relationship things that were going on, that was the bigger blanket that was in there every day, seeping into the songs.”
Bunetta remembers Zayn playing him “Pillowtalk” and a few other songs for the first time through a three a.m. fog of cigarette smoke in a hotel room in Japan.
“Fucking amazing,” he says. “They were fucking awesome. I know creatively he wasn’t getting what he needed from the way that the albums were being made on the road. He wanted to lock himself in the studio and take his time, be methodical. And that just wasn’t possible.”
A month or so later, and 16 shows into One Direction’s “On the Road Again” tour, Zayn left the band. Bunetta and Ryan agree it wasn’t out of the blue: “He was frustrated and wanted to do things outside of the band,” Bunetta says. “It’s a lot for a young kid, all those shows. We’d been with them for a bunch of years at this point — it was a matter of when. You just hoped that it would wait until the last album.”
Still, Bunetta compares the loss to having a finger lopped off, and he acknowledges that Harry, Niall, Liam and Louis struggled to find their bearings as One Direction continued with their stadium tour and next album, Made in the A.M. Just as band tensions bubbled beneath the songs on Four, Zayn’s departure left an imprint on Made in the A.M. Not with any overt malice, but a song like “Drag Me Down,” Bunetta says, reflects the effort to bounce back. Even Niall pushing his voice to the limits of his range on that song wouldn’t have been necessary if Zayn and his trusty falsetto were available.
But Made in the A.M. wasn’t beholden to this shake-up. Bunetta and Ryan cite “Olivia” as a defining track, one that captures just how far One Direction had come as songwriters: They’d written it in 45 minutes, after wasting a whole day trying to write something far worse.
“When you start as a songwriter, you write a bunch of shitty songs, you get better and you keep getting better,” Ryan says. “But then you can get finicky and you’re like, ‘Maybe I have to get smart with this lyric.’ By Made in the A.M. … they were coming into their own in the sense of picking up a guitar, messing around and feeling something, rather than being like, ‘How do I put this puzzle together?’”
After Zayn’s departure, Bunetta and Ryan said it became clear that Made in the A.M. would be One Direction’s last album before some break of indeterminate length. The album boasts the palpable tug of the end, but to One Direction’s credit, that finality is balanced by a strong sense of forever. It’s literally the last sentiment they leave their fans on album-closer “History,” singing, “Baby don’t you know, baby don’t you know/We can live forever.”
In a way, Made in the A.M. is about One Direction as an entity. Not one that belonged to the group, but to everyone they spent five years making music for. Four years since their hiatus and 10 years since their formation, the fans remain One Direction’s defining legacy. Even as all five members have settled into solo careers, Ryan notes that baseless rumors of any kind of reunion — even a meager Zoom call — can still set the internet on fire. The old songs remain potent, too: Carl Falk says his nine-year-old son has taken to making TikToks to 1D tracks.
“Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing,” Kotecha says
There are plenty of metrics to quantify One Direction’s reach, success and influence. The hard numbers — album sales and concert stubs — are staggering on their own, but the ineffable is always more fun. One Direction was such a good band that a fan, half-jokingly, but then kinda seriously, started a GoFundMe to buy out their contract and grant them full artistic freedom. One Direction was such a good band that songwriters like Kotecha and Falk — who would go on to make hits with Ariana Grande, the Weeknd and Nicki Minaj — still think about the songs they could’ve made with them. One Direction was such a good band that Mitski covered “Fireproof.”
But maybe it all comes down to the most ineffable thing of all: Chance. Kotecha compares success on talent shows like The X Factor to waking up one morning and being super cut — but now, to keep that figure, you have to work out at a 10, without having done the gradual work to reach that level. That’s the downfall for so many acts, but One Direction was not only able, but willing, to put in the work.
“They’re one of the only acts from those types of shows that managed to do it for such a long time,” Kotecha says. “Five years is a long time for a massive pop star to go nonstop. I know it was tiring, but they were fantastic sports about it. They appreciated and understood the opportunity they had — and, as you can see, they haven’t really stopped since. Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing. To have these boys — that had been sort of randomly picked — to also have that? It will never be repeated.”
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A bathroom figures significantly in the origin stories of at least two classic One Direction songs. The first will be familiar to any fan: Songwriter and producer Savan Kotecha was sitting on the toilet in a London hotel room, when he heard his wife say, “I feel so ugly today.” The words that popped into his head would shape the chorus of One Direction’s unforgettable 2011 debut, “What Makes You Beautiful.”
The second takes place a few years later. Another hotel room in England — this one in Manchester — where songwriters and producers Julian Bunetta and John Ryan were throwing back Cucumber Collins cocktails and tinkering with a beat. Liam Payne was there, too. At one point, Liam got up to use the bathroom and when he re-emerged, he was singing a melody. They taped it immediately. Most of it was mumbled — a temporary placeholder — but there was one phrase: “Better than words…” A few hours later, on the bus to another city, another show — Bunetta and Ryan can’t remember where — Payne asked, maybe having a laugh, what if the rest of the song was just lyrics from other songs?
“Songs in general, you’re just sort of waiting for an idea to bonk you on the head,” Ryan says from a Los Angeles studio with Bunetta. “And if you’re sort of winking at it, laughing at it — we were probably joking, what if [the next line was] ‘More than a feeling’? Well, that would actually be tight!”
“Better Than Words,” closed One Direction’s third album, Midnight Memories. It was never a single, but became a fan-favorite live show staple. It’s a mid-tempo headbanger that captures the essence of what One Direction is, and always was: One of the great rock and roll bands of the 21st century.
July 23rd marks One Direction’s 10th anniversary, the day Simon Cowell told Harry Styles, Niall Horan, Zayn Malik, Liam Payne and Louis Tomlinson that they would progress on The X Factor as a group. Between that date and their last live performance (so far, one can hope) on December 31st, 2015, they released five albums, toured the world four times — twice playing stadiums — and left a trove of Top 10 hits for a devoted global fan base that came to life at the moment social media was re-defining the contours of fandom.
It’d been a decade since the heyday of ‘N Sync and Backstreet Boys, and the churn of generations demanded a new boy band. One Direction’s songs were great and their charisma and chemistry undeniable, but what made them stick was a sound unlike anything else in pop — rooted in guitar rock at a time when that couldn’t have been more passé.
Kotecha, who met 1D on The X Factor and shepherded them through their first few years, is a devoted student of boy band history. He first witnessed their power back in the Eighties when New Kids on the Block helped his older sister through her teens. The common thread linking all great boy bands, from New Kids to BSB, he says, is, “When they’d break, they’d come out of nowhere, sounding like nothing that’s on the radio.”
In 2010, Kotecha remembers, “everybody was doing this sort of Rihanna dance pop.” But that just wasn’t a sound One Direction could pull off (the Wanted only did it once); and famously, they didn’t even dance. Instead, the reference points for 1D went all the way back to the source of contemporary boy bands.
“Me and Simon would talk about how [One Direction] was Beatles-esque, Monkees-esque,” Kotecha continues. “They had such big personalities. I felt like a kid again when I was around them. And I felt like the only music you could really do that with is fun, pop-y guitar songs. It would come out of left field and become something owned by the fans.”
“The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” says Carl Falk
To craft that sound on 1D’s first two albums, Up All Night and Take Me Home, Kotecha worked mostly with Swedish songwriters-producers Carl Falk and Rami Yacoub. They’d all studied at the Max Martin/Cheiron Studios school of pop craftsmanship, and Falk says they were confident they could crack the boy band code once more with songs that recalled BSB and ‘N Sync, but replaced the dated synths and pianos with guitars.
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The greatest thing popular music can do is make someone else think, “I can do that,” and One Direction’s music was designed with that intent. “The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” Falk says. “If you listen to ‘What Makes You Beautiful’ or ‘One Thing,’ they have two-finger guitar riffs that everyone who can play a bit of guitar can learn. That was all on purpose.”
One Direction famously finished third on The X Factor, but Cowell immediately signed them to his label, Syco Music. They’d gone through one round of artist development boot camp on the show, and another followed on an X Factor live tour in spring 2011. They’d developed an onstage confidence, but the studio presented a new challenge. “We had to create who should do what in One Direction,” Falk says. To solve the puzzle the band’s five voices presented, they chose the kitchen sink method and everyone tried everything.
“They were searching for themselves,” Falk adds. “It was like, Harry, let’s just record him; he’s not afraid of anything. Liam’s the perfect song starter, and then you put Zayn on top with this high falsetto. Louis found his voice when we did ‘Change Your Mind.’ It was a long trial for everyone to find their strengths and weaknesses, but that was also the fun part.” Falk also gave Niall some of his first real guitar lessons; there’s video of them performing “One Thing” together, still blessedly up on YouTube.
“What Makes You Beautiful” was released September 11th, 2011 in the U.K. and debuted at Number One on the singles chart there — though the video had dropped a month prior. While One Direction’s immediate success in the U.K. and other parts of Europe wasn’t guaranteed, the home field odds were favorable. European markets have historically been kinder to boy bands than the U.S.; ‘N Sync and Backstreet Boys found huge success abroad before they conquered home. To that end, neither Kotecha nor Falk were sure 1D would break in the U.S. Falk even says of conceiving the band’s sound, “We didn’t want it to sound too American, because this was not meant — for us, at least — to work in America. This was gonna work in the U.K. and maybe outside the U.K.”
Stoking anticipation for “What Makes You Beautiful” by releasing the video on YouTube before the single dropped, preceded the strategy Columbia Records (the band’s U.S. label) adopted for Up All Night. Between its November 2011 arrival in the U.K. and its U.S. release in March 2012, Columbia eschewed traditional radio strategies and built hype on social media. One Direction had been extremely online since their X Factor days, engaging with fans and spending their downtime making silly videos to share. One goofy tune, made with Kotecha, called “Vas Happenin’ Boys?” was an early viral hit.
“They instinctively had this — and it might just be a generational thing — they just knew how to speak to their fans,” Kotecha says. “And they did that by being themselves. That was a unique thing about these boys: When the cameras turned on, they didn’t change who they were.”
Social media was flooded with One Direction contests and petitions to bring the band to fans’ towns. Radio stations were inundated with calls to play “What Makes You Beautiful” long before it was even available. When it did finally arrive, Kotecha (who was in Sweden at the time) remembers staying up all night to watch it climb the iTunes chart with each refresh.
Take Me Home, was recorded primarily in Stockholm and London during and after their first world tour. The success of Up All Night had attracted an array of top songwriting talent — Ed Sheeran even penned two hopeless romantic sad lad tunes, “Little Things” and “Over Again” — but Kotecha, Falk and Yacoub grabbed the reins, collaborating on six of the album’s 13 tracks. In charting their course, Kotecha returned to his boy band history: “My theory was, you give them a similar sound on album two, and album three is when you start moving on.”
Still, there was the inherent pressure of the second album to contend with. The label wanted a “What Makes You Beautiful, Part 2,” and evidence that the 1D phenomenon wasn’t slowing down appeared outside the window of the Stockholm studio: so many fans, the street had to be shut down. Kotecha even remembers seeing police officers with missing person photos, combing through the girls camped outside, looking for teens to return to their parents.
At this pivotal moment, One Direction made it clear that they wanted a greater say in their artistic future. Kotecha admits he was wary at first, but the band was determined. To help manage the workload, Kotecha had brought in two young songwriters, Kristoffer Fogelmark and Albin Nedler, who’d arrived with a handful of ideas, including a chorus for a booming power ballad called “Last First Kiss.”
“We thought, while we’re busy recording vocals, whoever’s not busy can go write songs with these two guys, and then we’ll help shape them as much as we can,” Kotecha says. “And to our pleasant surprise, the songs were pretty damn good.”
At this pivotal moment, too, songwriters Julian Bunetta and John Ryan also met the band. Friends from the Berklee College of Music, Bunetta and Ryan had moved out to L.A. and cut a few tracks, but still had no hits to their name. They entered the Syco orbit after scoring work on the U.S. version of The X Factor, and were asked if they wanted to try writing a song for Take Me Home. “I was like, yeah definitely,” Bunetta says. “They sold five million albums? Hell yeah, I want to make some money.”
Working with Jamie Scott, who’d written two songs on Up All Night (“More Than This” and “Stole My Heart”), Bunetta and Ryan wrote “C’mon, C’mon” — a blinding hit of young love that rips down a dance pop speedway through a comically oversized wall of Marshall stacks. It earned them a trip to London. Bunetta admits to thinking the whole 1D thing was “a quick little fad” ahead of their first meeting with the band, but their charms were overwhelming. Everyone hit it off immediately.
“Niall showed me his ass,” Bunetta remembers of the day they recorded, “They Don’t Know About Us,” one of five songs they produced for Take Me Home (two are on the deluxe edition). “The first vocal take, he went in to sing, did a take, I was looking down at the computer screen and was like, ‘On this line, can you sing it this way?’ And I looked over and he was mooning me. I was like, ‘I love this guy!’”
Take Me Home dropped November 9th, just nine days short of Up All Night’s first anniversary. With only seven weeks left in 2012, it became the fourth best-selling album of the year globally, moving 4.4 million copies, per the IFPI; it fell short of Adele’s 21, Taylor Swift’s Red and 1D’s own Up All Night, which had several extra months to sell 4.5 million copies.
Kotecha, Falk and Yacoub’s tracks anchored the album. Songs like “Kiss You,” “Heart Attack” and “Live While We’re Young” were pristine pop rock that One Direction delivered with full delirium, vulnerability and possibility — the essence of the teen — in voices increasingly capable of navigating all the little nuances of that spectrum. And the songs 1D helped write (“Last First Kiss,” “Back for You” and “Summer Love”) remain among the LP’s best.
“You saw that they caught the bug and were really good at it,” Kotecha says of their songwriting. “And moving forward, you got the impression that that was the way for them.”
Like clockwork, the wheels began to churn for album three right after Take Me Home dropped. But unlike those first two records, carving out dedicated studio time for LP3 was going to be difficult — on February 23rd, 2013, One Direction would launch a world tour in London, the first of 123 concerts they’d play that year. They’d have to write and record on the road, and for Kotecha and Falk — both of whom had just had kids — that just wasn’t possible.
But it was also time for a creative shift. Even Kotecha knew that from his boy band history: album three is, after all, when you start moving on. One Direction was ready, too. Kotecha credits Louis, the oldest member of the group, for “shepherding them into adulthood, away from the very pop-y stuff of the first two albums. He was leading the charge to make sure that they had a more mature sound. And at the time, being in it, it was a little difficult for me, Rami and Carl to grasp — but hindsight, that was the right thing to do.”
“For three years, this was our schedule,” Bunetta says. “We did X Factor October, November, December. Took off January. February, flew to London. We’d gather ideas with the band, come up with sounds, hang out. Then back to L.A. for March, produce some stuff, then go out on the road with them in April. Get vocals, write a song or two, come back for May, work on the vocals, and produce the songs we wrote on the road. Back to London in June-ish. Back here for July, produce it up. Go back on tour in August, get last bits of vocals, mix in September, back to X Factor in October, album out in November, January off, start it all over again.”
That cycle began in early 2013 when Bunetta and Ryan flew to London for a session that lasted just over a week, but yielded the bulk of Midnight Memories. With songwriters Jamie Scott, Wayne Hector and Ed Drewett they wrote “Best Song Ever” and “You and I,” and, with One Direction, “Diana” and “Midnight Memories.” Bunetta and Ryan’s initial rapport with the band strengthened — they were a few years older, but as Bunetta jokes, “We act like we’re 19 all the time anyway.” Years ago, Bunetta posted an audio clip documenting the creation of “Midnight Memories” — the place-holder chorus was a full-throated, perfectly harmonized, “I love KFC!”
For the most part, Bunetta, Ryan and 1D doubled down on the rock sound their predecessors had forged, but there was one outlier from that week. A stunning bit of post-Mumford festival folk buoyed by a new kind of lyrical and vocal maturity called “Story of My Life.”
“This was a make or break moment for them,” Bunetta says. “They needed to grow up, or they were gonna go away — and they wanted to grow up. To get to the level they got to, you need more than just your fan base. That song extended far beyond their fan base and made people really pay attention.”
Production on Midnight Memories continued on the road, where, like so many bands before them, One Direction unlocked a new dimension to their music. Tour engineer Alex Oriet made it possible, Ryan says, building makeshift vocal booths in hotel rooms by flipping beds up against the walls. Writing and recording was crammed in whenever — 20 minutes before a show, or right after another two-hour performance.
“It preserved the excitement of the moment,” Bunetta says. “We were just there, doing it, marinating in it at all times. You’re capturing moments instead of trying to recreate them. A lot of times we’d write a song, sing it in the hotel, produce it, then fly back out to have them re-sing it — and so many times the demo vocals were better. They hadn’t memorized it yet. They were still in the mood. There was a performance there that you couldn’t recreate.”
Midnight Memories arrived, per usual, in November 2013. And, per usual, it was a smash. The following year, 1D brought their songs to the environment they always deserved — stadiums around the world — and amid the biggest shows of their career, they worked on their aptly-titled fourth album Four. The 123 concerts 1D had played the year before had strengthened their combined vocal prowess in a way that opened up an array of new possibilities.
“We could use their voices on Four to make something sound more exciting and bigger, rather than having to add too many guitars, synths or drums,” Ryan says.
“They were so much more dynamic and subtle, too,” Bunetta adds. “I don’t think they could’ve pulled off a song like ‘Night Changes’ two albums prior; or the nuance to sing soft and emotionally on ‘Fireproof.’ It takes a lot of experience to deliver a restrained vocal that way.”
“A lot of the songs were double,” Bunetta says, “like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”
Musically, Four was 1D’s most expansive album yet — from the sky-high piano rock of “Steal My Girl” to the tender, tasteful groove of “Fireproof” — and it had the emotional range to match. Now in their early twenties, songs like “Where Do Broken Hearts Go,” “No Control,” “Fool’s Gold” and “Clouds” redrew the dramas and euphorias of adolescence with the new weight, wit and wanton winks of impending adulthood. One Direction wasn’t growing up normally in any sense of the word, but they were becoming songwriters capable of drawing out the most relatable elements from their extraordinary circumstances — like on “Change Your Ticket,” where the turbulent love affairs of young jet-setters are distilled to the universal pang of a long goodbye. There were real relationships inspiring these stories, but now that One Direction was four years into being the biggest band on the planet, it was natural that the relationships within the band would make it into the music as well.
“I think that on Four,” Bunetta says with a slight pause, “there were some tensions going on. A lot of the songs were double — like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”
He continues: “It’s tough going through that age, having to spread your wings with so many eyeballs on you, so much money and no break. It was tough for them to carve out their individual manhood, space and point of view, while learning how to communicate with each other. Even more than relationship things that were going on, that was the bigger blanket that was in there every day, seeping into the songs.”
Bunetta remembers Zayn playing him “Pillowtalk” and a few other songs for the first time through a three a.m. fog of cigarette smoke in a hotel room in Japan.
“Fucking amazing,” he says. “They were fucking awesome. I know creatively he wasn’t getting what he needed from the way that the albums were being made on the road. He wanted to lock himself in the studio and take his time, be methodical. And that just wasn’t possible.”
A month or so later, and 16 shows into One Direction’s “On the Road Again” tour, Zayn left the band. Bunetta and Ryan agree it wasn’t out of the blue: “He was frustrated and wanted to do things outside of the band,” Bunetta says. “It’s a lot for a young kid, all those shows. We’d been with them for a bunch of years at this point — it was a matter of when. You just hoped that it would wait until the last album.”
Still, Bunetta compares the loss to having a finger lopped off, and he acknowledges that Harry, Niall, Liam and Louis struggled to find their bearings as One Direction continued with their stadium tour and next album, Made in the A.M. Just as band tensions bubbled beneath the songs on Four, Zayn’s departure left an imprint on Made in the A.M. Not with any overt malice, but a song like “Drag Me Down,” Bunetta says, reflects the effort to bounce back. Even Niall pushing his voice to the limits of his range on that song wouldn’t have been necessary if Zayn and his trusty falsetto were available.
But Made in the A.M. wasn’t beholden to this shake-up. Bunetta and Ryan cite “Olivia” as a defining track, one that captures just how far One Direction had come as songwriters: They’d written it in 45 minutes, after wasting a whole day trying to write something far worse.
“When you start as a songwriter, you write a bunch of shitty songs, you get better and you keep getting better,” Ryan says. “But then you can get finicky and you’re like, ‘Maybe I have to get smart with this lyric.’ By Made in the A.M. … they were coming into their own in the sense of picking up a guitar, messing around and feeling something, rather than being like, ‘How do I put this puzzle together?’”
After Zayn’s departure, Bunetta and Ryan said it became clear that Made in the A.M. would be One Direction’s last album before some break of indeterminate length. The album boasts the palpable tug of the end, but to One Direction’s credit, that finality is balanced by a strong sense of forever. It’s literally the last sentiment they leave their fans on album-closer “History,” singing, “Baby don’t you know, baby don’t you know/We can live forever.”
In a way, Made in the A.M. is about One Direction as an entity. Not one that belonged to the group, but to everyone they spent five years making music for. Four years since their hiatus and 10 years since their formation, the fans remain One Direction’s defining legacy. Even as all five members have settled into solo careers, Ryan notes that baseless rumors of any kind of reunion — even a meager Zoom call — can still set the internet on fire. The old songs remain potent, too: Carl Falk says his nine-year-old son has taken to making TikToks to 1D tracks.
“Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing,” Kotecha says
There are plenty of metrics to quantify One Direction’s reach, success and influence. The hard numbers — album sales and concert stubs — are staggering on their own, but the ineffable is always more fun. One Direction was such a good band that a fan, half-jokingly, but then kinda seriously, started a GoFundMe to buy out their contract and grant them full artistic freedom. One Direction was such a good band that songwriters like Kotecha and Falk — who would go on to make hits with Ariana Grande, the Weeknd and Nicki Minaj — still think about the songs they could’ve made with them. One Direction was such a good band that Mitski covered “Fireproof.”
But maybe it all comes down to the most ineffable thing of all: Chance. Kotecha compares success on talent shows like The X Factor to waking up one morning and being super cut — but now, to keep that figure, you have to work out at a 10, without having done the gradual work to reach that level. That’s the downfall for so many acts, but One Direction was not only able, but willing, to put in the work.
“They’re one of the only acts from those types of shows that managed to do it for such a long time,” Kotecha says. “Five years is a long time for a massive pop star to go nonstop. I know it was tiring, but they were fantastic sports about it. They appreciated and understood the opportunity they had — and, as you can see, they haven’t really stopped since. Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing. To have these boys — that had been sort of randomly picked — to also have that? It will never be repeated.”
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