Showing posts with label digital disruption. Show all posts
Showing posts with label digital disruption. Show all posts

Wonga is not the sort of fintech we want thank you






By Neil Patrick

Does technology have a moral compass? I guess most would say it’s morally neutral. It is the people creating it who must carry that responsibility. But technology and big data is the great power of our age. And with great power comes great responsibility.

When someone tells you big data is the answer, it’s smart to look beyond the data

This week Wonga.com went into administration. It’s a business I’ve watched with interest since its foundation in 2006. But not with admiration, rather a growing unease that its business model wasn’t just unethical, it was fatally flawed. It was bound to have a messy ending.

Wonga was the UK’s biggest payday lender. Payday loans in the USA remain illegal in 14 states yet created several multi-millionaires there in a few short years. And as is usually the case, when that happens, the idea travelled across the Atlantic very quickly to the UK.

Not very long ago, Wonga was a posterboy for the fintech sector. They invested in lavish TV commercials. They sponsored Newcastle United Football Club for £8 million a year. And they were once courted by investors eager to share in their profits.


Papiss Cisse of Newcastle United.
 Photo credit: Dudek1337


And Wonga's founders would be the first to admit that they trusted data and algorithms more than people. Couple big data with a fast and simple internet-based application process and Wonga were sure they would be the next big thing in money lending. They would take a proven business model from the US and turn it into a data-driven internet giant in lending. Tech is so much cheaper and more reliable than people after all. Or is it?

It all went horribly wrong for reasons which are not the same as the ones talked about in the mainstream media. They give you the headline facts. I’m more interested in what created those facts…

A short history of payday loans in the United States

Banking deregulation in the United States in the late 1980s caused many small community banks to go out of business. This created a void in the supply of short-term microcredit, which was not supplied by mainstream banks due to their unprofitability. That unprofitability was easy to explain – banking regulations wouldn’t permit the ultra-high interest rates needed to cover the high default levels that such loans inevitably create.

The payday loan industry sprang up to capitalise on this void and to supply small short-term loans to the working class at very high interest rates. But how was it that they were able to make these loans when banks could not?

W. Allan Jones, the 'father of payday loans'

In 1993, Check Into Cash was founded by Allan Jones in Cleveland, Tennessee, and became the largest payday loan company in the United States. He’s known as ‘the father of payday loans’ - I am unsure if this is a tribute or an indictment - and his business was made possible only after he donated to the campaigns of legislators in multiple states, convincing them to legalize loans with such high interest rates.

And thus a massive new industry was born…

Subsequently, the industry grew from fewer than 500 storefronts to over 22,000 and a total size of $46 billion. By 2008, payday loan stores in the United States outnumbered Starbucks shops and McDonald's fast food restaurants.

And this was the point at which two entrepreneurs named Errol Damelin and Jonty Hurwitz envisioned an internet-based payday loans business in the UK. Both had previous internet start-up experience; but critically neither had any experience of retail banking. I could see exactly how Wonga would make money. I had no doubt about that. What I could also see was that the business model was completely unsustainable.

What exactly are you disrupting?

Wonga claimed and possibly believed they were disrupting big banks. They were not. They were actually disrupting doorstep money lenders and loan sharks; some of the most odious and exploitative businesses you will find.

And guess which other online sector is also in trouble today? Online ticket sellers. They claim they are making event tickets more easily available. But they are actually using all sorts of devious online trickery, enabling inflated prices not to mention a raft of fees and charges which are added to the bill. If they are disrupting anyone, they are disrupting ticket touts and making a killing in the process.

And just like the payday loans sector who became the target for heavy intervention by the Financial Conduct Authority, so too are the secondary ticketing websites, including Viagogo, StubHub, GETMEIN! and Seatwave. All are now under similar legal and regulatory threat by the Competition and Markets Authority.

So when new businesses say they are disruptive, that’s not automatically a good thing. What matters is that the disruptors are challenging an expensive or exploitative sector, remedying the fundamental failures of that sector, not amplifying them through mere digital deployment.

Investors loved this business – at first

In 2008, when Wonga was still an early stage start up, I was doing the rounds of venture capital firms in London, capital raising for another fintech startup. I distinctly recall one venture capitalist telling me that what he really wanted was another Wonga.

Wonga had already raised £3.7m to fund its initial platform development. In July 2009 Wonga raised a further £13.9m of funding through other VC firms (including the one I talked to). These investments enabled Wonga to complete their first platform and begin lending money.

The point here is that investors are looking for a quick return on their investment. Usually a sell out or exit after 3 - 5 years. They want a deal they can buy into cheap, and sell fast with a big return. This rapid rate of buying in and selling out enables them to avoid possible regulatory trouble because:

Regulators are far too slow to intervene to remedy exploitative practices

As I was watching the growth of Wonga and other payday lenders, I was also watching what regulators were doing. One of the first to take any notice was the Office of Fair Trading. Yet in their initial reviews they claimed that they had too few complaints to merit any sort of intervention. Instead they opted to merely keep an eye on things. It wasn’t until 2012 amidst explosive growth of payday lending and mounting criticism, that the Financial Conduct Authority decided to intervene.

The Financial Crash of 2008 was great news for payday lenders

Although when Wonga was founded, the financial crash of 2008 was still ahead, when it came, this event was to ensure that payday lenders were to benefit. Banks and other mainstream lenders stopped lending to virtually everyone. But people’s need to borrow didn’t diminish, which left Wonga with suddenly much less competition from more traditional lenders. Moreover, the economic doldrums which ensued in the Great Recession created new customers in their droves.


Screenshot from Wonga.com showing the cost of borrowing £100 for 30 days as at 17 Nov 2013

In 2012, a typical loan from Wonga had an annual percentage rate of 4,214 per cent. This equates to a charge of £42.96 for borrowing £100 for just 36 days. The debate still rages about this. Payday loans are by definition very short-term. And small. But most traditional loans are bigger and long term, so historically, the annual percentage rate of interest (APR) was a convenient and appropriate way to measure the cost of a loan. Not so much when the loan is for just a few days. My view was and remains that APR is not relevant when assessing the cost of ultra-short-term loans.

No-body wanted to buy Wonga because other predators were eating it…

In September 2012, Wonga reported profits of £45.8m for 2011 from revenue of £185m. But the threats and cracks were already showing. Not least of these was the Financial Conduct Authority’s new rules and ongoing investigation into the whole payday loans sector.

Already anticipating a new financial compensation opportunity, legal claims management firms saw that payday lenders would become their next carcasses to feast upon. And they were right – payday loan regulation created a whole new raft of claims opportunities. Coupled with the capping of the fees that had originally made Wonga so profitable, these claims grew and grew until the business became unsustainable.

Last week in a desperate last hour bid to save the Wonga from collapse, the shareholders stumped up a further £10m. But it was not enough.

Never leave the techies in charge of the business

The mainstream media, politicians and even the Archbishop of Canterbury have complained endlessly that Wonga’s business was exploitative. I agree, but that’s not how the business made so much money. The key to business’s early profitability was NOT through its high interest rates, but the fees and charges it applied to every borrower that failed to meet their repayment terms faultlessly and the rolling over of these charges into new loans.

Before regulators stepped in to tackle this in 2012, if a customer failed to repay the loan in full on the due date, a default fee would be charged and interest would snowball the debt endlessly thereafter. The debt would then be ‘rolled over’ into a new and bigger loan. Such things would involve a lot of letters and phone calls of course. And every letter and phone call would also incur a large fee which was also added to the debt. In the matter of a few weeks, a smallish loan could be transformed into a debt many times larger. This was insanely profitable.

Regulation is inevitable but is always too late

On 28 November 2012, following concerns that small loans, intended to be short-term, could become prohibitively expensive, the government announced it would give the Financial Conduct Authority powers to prevent indefinite rolling over of loans and effectively limit charges.

By this point, Wonga had already made millions in profits. But from this point, their business model couldn’t work. It was just a matter of time until the whole thing crashed. The only thing that surprises me is that the business was able to limp on for another six years.

When the body falls, the vultures complete the kill

The coup de grâce that finally finished Wonga ironically wasn’t it’s business model. True, this had become fatally wounded by the imposition of regulations to prevent their loan roll overs and excessive fees for defaulters. What finished them was another group of predators – the claims management companies. In 2014, the firm introduced a new management team and wrote off £220m worth of debt belonging to 330,000 customers after admitting giving loans to people who could not afford to repay them. But even this was not enough to deflect the inevitable.

The endless cycle of financial ‘innovation’, profiteering, regulation and collapse

Wonga is more than just a tale of dubious morality. It is a perfect demonstration of how a purely technological vision, lacking depth of understanding of the industry sector and its unique characteristics, inevitably wrecks the lives of customers, investors and staff alike.

I am pleased that Wonga is no more. But I am not optimistic that we won’t see this cycle perpetuating again and again in other business sectors. It’s not entrepreneurial innovation or disruption, it’s a perfect storm of lack of morality, self-delusion, arrogance and greed, going unchallenged until long after the damage is done. And as usual the biggest victims are those least able to bear it.



Gibson, Eurovision and the disruption of music



No Substitute: Keith Moon's memorial plaque at Golders Green Crematorium
Photo credit: BlueRaspberry

By Neil Patrick

The digital revolution is eroding rather than enhancing creativity. The idea that waves of digital disruption will unleash spectacular creativity is just not living up to its promises.

If we want to truly understand how digital technology changes the world, then we can learn much from an examination of the very first industry it disrupted. And the industry with the longest timeline of digital degradation is music.

Today, the music industry is not only financially shrivelled, it has been denuded of its vital creative life force. We’ve never listened to more music, in more ways, in more places. Yet after reaching a peak in 2000, the music industry now earns half the money it used to. It has lost over $7 billion of revenue since the dawn of the internet.

Anyone who was alive between 1950 and 1980 can recall that music then was in a golden age. Yet these were difficult economic times for the UK. Burdened with a disintegrating empire, faltering manufacturing, the rise of militant trade unionism and the costs of surviving rather than winning two world wars (it was the USA which ‘won’ WW2, at least economically speaking), things in Blighty were pretty bleak.

But in the 1960’s against this unpromising backdrop, Great Britain gave birth to a whole host of world beating music superstars whose like we will never see again. The Beatles, Deep Purple, Led Zeppelin, The Who, The Rolling Stones, Pink Floyd, Yes, Genesis. In the 1970s and early 1980s, this creative torch was carried on by a new generation; Queen, Black Sabbath, David Bowie, U2, Judas Priest, Iron Maiden and Def Leppard.

To see the sort of brilliantly creative controlled chaos I am talking about, just watch this clip of the Who playing live in 1978 including Keith Moon, just weeks before his untimely death:





Everything here is analogue. No digital enhancement or aids. No light show. Just raw talent, spontaneity and naked musical energy unleashed.

Every one of these bands sold millions worldwide and still does. Every one is cited by today’s contemporary artists as being influential. None of them began with anything other than their own passion, talent and determination. And they needed it, because whilst plenty of live venues existed and record contracts were generous by today’s standards, getting anywhere at all required dogged persistence for years to become established. I know the histories of every one of these bands and they all began by slogging it out with no money, playing in dingy clubs and pubs, slowly building their fan base from the bottom.

The internet and the concurrent explosion of media options was the catalyst for the comprehensive destruction of this creative powerplant in Britain’s economic engine. The internet’s first salvo was free file sharing. The second was the consequent demise of radio and live music venues. Next was Amazon and iTunes extermination of music retailers. Finally we now have an overwhelming flood of material – the replacement of carefully crafted work with a deluge of mediocre mass market music amongst which, the best new things are hard to find.

When the internet began, most musicians rejoiced. It was seen as the great equalizer. Through free global reach, the best talent could reach bigger audiences and rise to the top regardless of whether or not they had the support of a record company. The punk DIY ethic would empower all musicians in a new musical democracy. But as The Wall Street Journal describes, that dream did not materialise – instead it created an unforeseen consequence:

“It has never been easier to listen to vast quantities of music, discover new artists and create, distribute and promote your own tunes. But there’s a downside: It is harder for artists to break through the cacophony of today’s global pop-music machine.

“The music business is pumping out more music than ever before, industry experts say, the result of cheap digital-production tools, round-the-clock social-media marketing and the prodigious output of hip-hop stars. Both artists and fans are feeling submerged.”


The internet has ensured we are drowning in music. And it’s not just artists who are struggling with this. Just last week, a business which is one of the very few I actually and genuinely love, filed for Chapter 11 bankruptcy – Gibson guitars.

Gibson's factory in Memphis
Photo credit: H. Michael Miley 


Gibson lost the plot and the struggle to redefine itself for the 21st century. Its management decided that it wasn’t simply the greatest guitar maker in the world, but rather a ‘lifestyle brand’. This redefinition would build on its immense heritage and grow by debt-funded acquisitions away from the core of the brand. But this wasn’t transformational innovation. It was a layering of bad decision upon bad decision, piling up to wreck a business that as recently as the early millennium could lay fair claim to being a world leader. Today, Gibson is carrying around $500m of debt and its future looks decidedly uncertain.

Unlike say Polaroid, Gibson has not been blindsided by superior digital products and shifting consumer preferences. Certainly, their premium pricing, slipping quality control standards and poor staff treatment didn't help. But Gibson is nonetheless indirectly a victim of the internet because it sells new guitars when consumers want used ones which the internet delivers in droves:

“The market has softened. It’s not as vibrant as it was in say the early 2000s,” according to Brian Majeski, editor of Music Trades. “We think that an enormous factor…has been the improved availability of used product, and the rise of a generation used to buying things on the internet.”

Reverb.com, an online clearinghouse for musical instruments, will sell between $400m and $500m worth of guitars in 2018, Majeski estimated – “and almost all of them are used”.
There’s a further great irony here too. Music isn’t something people love less than they did. Musicians still love music and so too do audiences. It’s not as if something came along which suddenly made music obsolete.

On one hand, digital technology has enabled musicians access to equipment and media capabilities that their forbears could only contemplate if they were the most famous and successful performers. On the other hand, the fragmentation and demise of radio, record labels and touring venues have taken away the vital infrastructure which supported and enabled hundreds of performers and their multi-million pound contributions to retail, jobs and ultimately GDP.

The music industry globally may not be dead, but it is a shadow of what it used to be. Not just commercially, but also creatively speaking. And the ways it survives at all are often truly tragic. Only last weekend I watched the Eurovision song contest (or rather the first thirty or forty minutes of it – because I could bear no more). This is a sad manifestation of music indeed. It’s an over-produced, politically correct, mush of mediocre performers. It’s not even a pure talent contest – it’s a sanitised mashup masquerading as a beacon of increased international understanding. It is fundamentally contrived and has little or nothing to do with talent or real music.

In case you've never seen it, here is a sample of what's on offer. And despite the video title, I'd contend that this isn't the worst, it's actually a pretty representative sample:




Instead of spreading peace and love around the world, Eurovision actually embodies some of the worst characteristics we complain about in the rest of society – it is highly creative only in the ways it generates money by leveraging nationalistic pride and prejudice. Even Terry Wogan, the UK’s presenter of Eurovision since 1980 stood down from the BBC One's broadcast in 2008 saying "The voting used to be about the songs. Now it's about national prejudices. We [the United Kingdom] are on our own. We had a very good song, a very good singer, we came joint last. I don't want to be presiding over another debacle".

This is what the digital revolution does to creative industries; it sanitises, it packages, it expands quantity but erodes quality. Essentially it devalues everything it touches. Eurovision certainly shows no signs of throwing up the next David Bowie or Queen. But I guess it might just manage an Ed Sheeran or Beyoncé clone.