Friday 29 September 2017, 11:52 | By

European Commission backs takedown-and-stay-down for combating piracy online

Business News Digital Labels & Publishers Legal Top Stories

European Commission

The European Commission yesterday published new guidelines for how internet companies should deal with illegal content that is uploaded to their networks, in a bid to encourage net firms to be more consistent and proactive in blocking illegal files, which includes content that incites violence or terrorism, as well as copyright infringing material.

On the copyright front, internet firms whose users upload infringing content are usually protected from liability for that infringement by those much talked about safe harbours. However, to qualify for safe harbour protection, an internet company must have a takedown system via which copyright owners can request infringing material be removed.

Of course, the music industry’s big beef with the copyright safe harbour is when user-upload services like YouTube claim they are also protected from liability for copyright infringement under the system. Though music companies also reckon that search engines, social networks and digital lockers – who they concede should have safe harbour protection – should nevertheless have better takedown procedures.

In the UK, a voluntary agreement was reached between the copyright owners and the big search engines last year on how to improve the takedown process, and the new European guidelines make similar proposals for how net firms could and should be better at removing illegal content, whether it be hate speech or copyright infringing files.

A key theme of the music industry’s lobbying on this issue has been the push for not just takedown systems, but takedown-and-stay-down systems, whereby once an infringing file has been removed once, it is automatically blocked if people attempt to upload it again. Somewhat ironically, in its Content ID system, big bad YouTube has done more work in that domain than most.

In its new guidelines, the European Commission supports systems of this kind, encouraging web companies to “invest in automatic detection technologies” that “prevent the re-appearance of illegal content online”. The EC also advocates web firms forming special relationships with “trusted flaggers” who have “specific expertise in identifying illegal content”, while also taking “measures against repeat infringers”.

The guidelines – many details of which were actually leaked earlier this month – are just that for now, guidelines on how internet companies should be evolving their systems for dealing with illegal content. But the Commission says that it will now “monitor progress and assess whether additional measures are needed”, which could include new legislation.

Copyright owners will be pleased that that the European Commission has including piracy in its review of how the net sector deals with illegal content, and will now watch what progress – if any – is made. Meanwhile within the tech sector, there are mixed opinions.

The Computer And Communications Industry Association – repping many web giants – said that it “has advocated for a long time for the introduction of well-thought-out notice and action guidelines, and [these guidelines are] a welcome initiative for a more aligned approach on the removal of infringing content across the European Union”.

Others say that – while the EC does talk about the need to balance the speedy takedown of illegal content with ensuring free speech rights are protected – the guidelines don’t do enough to protect freedom of expression online.

Lobbing group European Digital Rights told reporters: “[This] document puts virtually all its focus on internet companies monitoring online communications in order to remove content that they decide might be illegal. It presents few safeguards for free speech and little concern for dealing with content that is actually criminal”.

Launching the guidelines, the European Commissioner for the Digital Single Market, Andrus Ansip, stated: “We are providing a sound EU answer to the challenge of illegal content online. We make it easier for platforms to fulfil their duty, in close cooperation with law enforcement and civil society. Our guidance includes safeguards to avoid over-removal and ensure transparency and the protection of fundamental rights such as freedom of speech”.

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Friday 29 September 2017, 11:50 | By

Because acquires Beta Band recordings catalogue

Artist News Business News Deals Labels & Publishers Releases

The Beta Band

French indie label group Because has acquired the Beta Band recordings catalogue as part of Warner Music’s still ongoing divestment of copyrights relating to its 2013 acquisition of the Parlophone Label Group.

The deal includes the band’s four albums, best of collection, and the first two EPs from frontman Steve Mason’s also excellent King Biscuit Time solo project. Plans are now afoot to reissue the lot through the Because Music label.

“I am delighted that the Beta Band catalogue has found a place on an independent record label”, says Mason. “I think that Because Music is a perfect home for our hard work and endeavours. Bon voyage Beta Banditos”.

His former bandmate Richard Greentree adds: “It is a happy day indeed finalising this deal with Because. The opportunity the divestment process has presented for many artists – to revitalise and re-promote their works – has been an interesting, exciting and unexpected one. The outcome for the Beta Band, of finding a great deal, with the best suited and hottest record label of the moment, shows just how exciting and unexpected it gets”.

Because founder Emmanuel de Buretel comments: “We are delighted and honoured to acquire such an amazing body of work from such an important and influential band. We are hugely excited to be given the opportunity to re launch The Beta Band’s incredible catalogue of work to fans old and new”.

A new lease of life for the Beta Band is great news, given that a series of misfortunes meant the outfit never quite reached the heights they could have while they were still together. The documentary about the making of their final album, ‘Heroes To Zeros’, is an amazingly candid record of their slow collapse. Go and track down a copy of that now.

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Friday 29 September 2017, 11:44 | By

Dice launches in the US

Business News Live Business

Dice

British ticketing firm Dice has announced that it is launching in the US, initially offering tickets via its app in San Francisco and LA.

Says Dice founder Phil Hutcheon: “We’re focused on a younger demographic that’s fed up with how ticketing is. They’re disengaging and we need to be careful because live music is in competition with Netflix. With bars. With eating out”.

He adds: “If you keep screwing over fans they won’t come back. Dice is the ethical platform that fans trust to get tickets. We get fans in, keep scalpers out, and we have ambitious plans to roll out across the US in the coming months”.

Among the US shows now available through Dice are performances by Sam Smith, Khalid and Matthew Dear, as well as Vevo’s Halloween event in San Francisco.

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Friday 29 September 2017, 11:42 | By

Music Venue Trust announces new artist patrons

Artist News Business News Live Business

Music Venue Trust

The Music Venue Trust has announced Charlotte Hatherley, Slaves and The Anchoress as new artist patrons of the organisation, while Everything Everything’s Jeremy Pritchard is the first musician to become a trustee.

“Were it not for the presence of the Tunbridge Wells Forum while I was growing up, I very much doubt that I would be a professional musician now”, says Pritchard. “The same would be said of countless other individuals who have been inspired and nurtured by similar community live music venues – Southampton Joiners, Bristol Thekla, Oxford Jericho, Manchester Night And Day, Hull Welly, Newcastle Cluny, and so on”.

He continues: “The UK music industry needs to do more to support its live grassroots, and government needs to recognise that the health and future prosperity of this important British industry relies on us nurturing these seeds”.

Charlotte Hatherley adds: “I’ve been a touring musician for 20 years now both as a solo artist and as a session guitarist for a number of bands. I was fifteen when I joined my first band and we played pretty much every small London rock venue. Many of those venues sadly no longer exist. Touring continues to be a major part of my life and I’m THRILLED to have the opportunity to support the Music Venue Trust in their vital work in protecting grassroots venues”.

The MVT’s annual Venues Day event this year takes place on 17 Oct at Ministry Of Sound in London, featuring a variety of panel discussions on issues facing small venues. Tickets are available here.

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Friday 29 September 2017, 11:40 | By

Russia’s Yandex Music does streaming deal with Facebook

Business News Deals Digital

Yandex

Russia’s Yandex Music streaming service has done a deal with Facebook to allow users to share musical clips directly within the social network. It’s the first such partnership between Facebook and a Russian streaming platform.

One of Yandex Music’s main competitors in Russia is vKontakte, also one of Facebook’s main rivals there, so it should be a happy alliance.

Like similar deals the social media firm has done with Spotify, Apple Music, Deezer, Napster and KKBOX, the tie-up will see users of Yandex Music able to listen to tracks shared by their friends on Facebook.

In this case, users will be able to listen to 30 second clips that are available in the Yandex Music catalogue through Facebook itself, and then full tracks when they go to one of Yandex Music’s various apps.

Yandex Music is Russia’s largest local streaming service, with around 20 million users – with around 250,000 paying subscribers as of the end of 2016. It is owned and operated by internet firm Yandex – often referred to as ‘the Russian Google’. With the standard mix of ad-funded and premium tiers, an annual subscription costs around £21.50.

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Friday 29 September 2017, 11:38 | By

Spotify launches new satirical podcast We Need To Talk About

Business News Digital

We Need To Talk About

Spotify has launched a new original podcast, ‘We Need To Talk About’. Hosted by filmmaker Jolyon Rubinstein, each week he will be joined by a panel of guests to discuss the week’s news.

Episode one, titled ‘Finding The Funny In The Far Right’, is out now. On it, Rubinstein chats with radio presenter James O’Brien, comedy actor and writer Asim Chaudhry and stand up comedian Bridget Christie.

“Podcasts are increasing in popularity, both with our users, and as a growing category as a whole”, says Spotify’s Head Of Podcasts EMEA, James Cator. “Spotify users have been asking for more podcast content on the service for some time, so it’s great to be able to respond to that demand with great original shows, such as ‘We Need To Talk About’, and with the recent launch of ‘Show & Tell’ with Shaun Keaveny”.

He continues: “Podcasts are definitely a category we are working to expand on at Spotify, particularly in Europe. The hugely popular ‘Fest & Flauschig’ in Germany was our first move into original content, and Spotify is investing in further original podcast content in the UK and across Europe. We’re really excited to bring fresh, original podcasts to Spotify, and the next twelve months are going to see us focus on expanding our original content offering”.

Which is all very exciting, though whenever I log into the Spotify app it always feels like the service is going to considerable lengths to try to ensure that most people don’t know it even has a podcasts section. It does though – it’s definitely there – and there are some very fine podcasts in it. Speaking of which, the CMU Podcast is relaunching on Monday. You can subscribe right now on Spotify here.

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Friday 29 September 2017, 11:34 | By

PRS Foundation and British Council extend Musicians In Residence project to Brazil

Artist News Management & Funding

PRS Foundation

The British Council and PRS Foundation have announced a new project, which will take a selection of British musicians to hang out in Brazil for a month. Nice work if you can get it.

Musicians In Residence Brazil will take the chosen participants to one of the country’s major cites – either Rio de Janeiro, Recife or Cuiabá – where they’ll meet with local musicians, write new music, and explore creative and professional opportunities.

First up, Phantom Chips will head to Rio to take part in experimental music festival Novas Frequências; Lady Vendredi will work with the Paço do Frevo museum in Recife; and Nathaniel Mann will travel to the Xingu National Park near Cuiabá to collaborate with the indigenous Wauja people.

Says Mann: “It will be an extraordinary privilege to engage with the diverse musical cultures and histories of Brazil, and specifically those of the Wauja community of Xingu, in [the state of] Mato Grosso. I hope to open a musical dialogue which assists in amplifying the voices of the Wauja community, and eventually widens that dialogue to reach entirely new audiences. The works we create will explore the interconnectedness of traditional rites, music and the natural environment, exploring both Wauja and British musical traditions; all interwoven with more pressing contemporary themes of power and agency”.

Of the wider project, PRS Foundation chief exec Vanessa Reed says: “Based on the very positive outcomes of previous residencies we’ve supported with British Council, I’m convinced that Phantom Chips, Lady Vendredi and Nathaniel Mann will benefit enormously from this unique opportunity. I look forward to following the progress of their very different approaches to making music and to hearing about the relationship they build with local artists, communities and audiences. Congratulations on being selected for this important and popular programme”.

Reed mentioned the previous residencies there. Similar projects have taken place in China since 2011, involving artists including Imogen Heap, Oliver Coates and Anna Meredith. Last year also saw the first Musician In Residence project in the United Arab Emirates.

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Friday 29 September 2017, 11:29 | By

Hyperdub announces Japanese videogame music compilation

Artist News Releases

Diggin In The Carts

Record label Hyperdub has announced a new compilation called ‘Diggin In The Carts: A Collection Of Pioneering Japanese Videogame Music’.

A spin-off from the Red Bull Music Academy documentary series ‘Diggin In The Carts’, the record has been compiled by filmmaker Nick Dwyer and Hyperdub boss Kode9. It’s a collection of pioneering Japanese videogame music. In case you wondered.

“Some of the greatest art is created within limitations”, says the label of the music on the 34 track compilation. “Often the most pioneering and influential periods in electronic music have resulted from artists pushing existing technology to its limits”.

The album is due for release on 17 Nov. Here, from 1993 Nintendo Super Famicom game ‘The Mahjong Touhaiden’, is Soshi Hosoi’s ‘Mister Diviner’:

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Friday 29 September 2017, 11:24 | By

One Liners: Beyonce, Liam Gallagher, James Blunt, more

Artist News Gigs & Festivals One Liners Releases

Beyonce

Other notable announcements and developments today…

• Beyonce features on a new remix of ‘Mi Gente’ by J Balvin and Willy William, singing in Spanish like a regular Justin Bieber. She has announced that she will donate her royalties from the song to hurricane relief charities.

• Liam Gallagher has released the video for new single ‘Greedy Soul’. His solo album’s out next week, ending a campaign that feels like it’s been running for 26 years.

• James Blunt has released the video for ‘Don’t Give Me Those Eyes’, from his ‘The Afterlove’ album. He’s touring the UK’s arenas in November, just to remind you that quite a lot of people actually like him.

• Maroon 5 have released new single ‘What Lovers Do’. It features SZA, who is great, but the bulk of it is still Maroon 5, so probably still give it a miss.

• Ariel Pink has released the video for ‘Time To Live’, from his new album ‘Dedicated To Bobby Jameson’:

• Converge have released new single ‘Reptilian’, and also announced that they will put out their first album for five years, ‘The Dusk In Us’, on 3 Nov.

• Vessels have released the video for ‘Mobilise’, taken from their new album ‘The Great Distraction’. That album’s out today, why are you not already listening to it?

• Amanda Mair has released new single ‘Rush’:

• Baby In Vain have shared the video for new single ‘Low Life’. The band will be touring the UK next month.

• Jakwob has released ‘Ghost Optics’, taken from new EP ‘Lifted’.

• Tiggs Da Author is back with new single, ‘Work It Out’:

• Estrons have released new single ‘Cold Wash’:

• Die So Fluid have announced that they will release new album, ‘One Bullet From Paradise’, on 1 Dec. Sample a couple of tracks here:

• Chloe Howl will play her first show for two years at The Waiting Room in Stoke Newington on 6 Nov. Tickets went on sale this morning.

• Check out our weekly Spotify playlist of new music featured in the CMU Daily – updated every Friday.

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Friday 29 September 2017, 11:13 | By

Beef Of The Week #374: B.o.B v Science

And Finally Artist News Beef Of The Week

B.o.B

Rapper B.o.B remains convinced that the Earth is flat. Flat as a pancake. And despite the intervention of lots of people who are equipped to argue otherwise – like Neil de-fucking-Grasse Tyson – he’s still looking for definitive proof. So he’s set up a crowdfunding campaign to launch his own satellite into the sky to go and have a look.

We first reported on this story back in January 2016, when B.o.B first began speaking in support of the bizarre flat Earth theory. He was seemingly convinced that there was no way that we could be sitting on a globe, because he’d been up really high and could see no curve on the horizon. That’s basically it.

He then maintained that “the greatest liars in history” had “tremendously deceived” us all by telling us that the planet is round, when in fact it is definitely flat. Astrophysicist Neil deGrasse Tyson quickly got in touch to go through the basic scientific points, but B.o.B knocked him back, accusing deGrasse Tyson of being in on the great NASA conspiracy to convince us that the planet is round. He even wrote a diss track about the celebrity scientist.

So that was all quite amusing for a few days, but by now you’d have thought that B.o.B had given up on all this. After all, the Earth is definitely round. But no, he’s still flogging this horse. And the thing is, I told you earlier that he was raising money to launch “a satellite”. Well, actually, he’s trying to raise $1 million in order to “launch multiple weather balloons and satellites into space for experimental exploration”.

Aside from the fact that $1 million is not nearly enough to launch one satellite, let alone multiple satellites, into space (although it’s a bigger budget than his original target of $200,000), there is another obvious flaw in this plan. The science and engineering behind satellites only works if the Earth is round. They go into orbit. That’s the whole fucking point of them. They orbit the Earth and beam stuff back down.

Sure, you could say that claiming that satellites orbit the Earth is part of NASA’s big conspiracy. You could say that. But NASA is not the only organisation that builds and launches satellites. The skies above us are jammed full of satellites put up there by governments, private companies and other organisations all over the world.

The cost of paying all those people to stay quiet about the conspiracy – and then the unlikely outcome of all of them actually staying quiet and keeping the ‘lie’ going – would be phenomenal. And to what end? What would be the point of making people think that the Earth is round when it’s not? Oh God, why am I so wound up about this? Why are we even talking about this? It’s all so stupid.

Anyway, you can donate some money to B.o.B’s cause here. But please don’t. Even if he raises the money, and even if he can actually get things in the sky with that money, I don’t feel like the evidence his experiments would generate – ie proof that the world is definitely round – would actually change his mind. He’ll just decide he needs to do some more crowdfunding to pay for some more conspiracy busting research. And we’ll just keep going round and round. Like the planet. Which is round.

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Friday 29 September 2017, 10:10 | By

Vigsy’s Club Tip: Muak at The Victoria

Club Tip CMU Approved

Zaki Lais

DJ Zaki Lais’s club night Muak has been showcasing quality names from across the deep house scene for well over a decade now. Holding to its E8 roots, it now takes place at The Victoria on the edge of Dalston.

Tonight, Lais himself will play alongside producer Toni C – who is signed to the Muak record label – plus associates including Les Petits Oiseaux and Joanna Astrom.

Friday 29 Sep, The Victoria, 451 Queensbridge Road, London, E8 3AB, 7pm-2am, Free-£6. More info here.

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Friday 29 September 2017, 08:19 | By

CMU Digest 29.09.17: Spotify, Fair Play Fair Pay Act, Dweezil Zappa, Bell Canada, Royalty Flow

CMU Digest

Spotify

The key stories from the last seven days in the music business…

Spotify is now being valued at $16 billion, according to sources who have spoken to Reuters. The streaming firm is still preparing for its direct listing on the New York Stock Exchange, but private trading in the company’s shares have seen the perceived value of the business increase from $13 billion to $16 billion this year. Some reckon the market-leading streaming platform could have a price-tag of $20 billion by the time it lists on Wall Street. The increased valuation is based on optimism in investment circles about the future growth potential of the streaming music business which, they hope, will ultimately see the currently loss-making Spotify cash in big time. [READ MORE]

Two more Congressman gave their backing to the radio royalties bill in the US.The proposed Fair Play Fair Pay Act would force AM/FM radio stations in America to pay royalties to artists and labels as well as songwriters and publishers. The lack of a general performing right for sound recordings that covers traditional radio is a quirk of American copyright law that the US broadcasters are lobbying hard to keep. Jim Cooper and Brad Sherman signed on as co-sponsors of the record industry backed Fair Play Fair Pay proposals this week. [READ MORE]

Dweezil Zappa posted a long update on his trademark dispute with the Frank Zappa Trust. Tensions have been mounting between Frank Zappa’s children, and especially brothers Dweezil, who regularly performs his father’s songs, and Ahmet, who heads up the trust that controls his father’s estate. The core legal dispute is over if and how Dweezil can use the trademarked Zappa name for his live shows. Dweezil posted the update in the wake of Ahmet’s announcement that the trust was planning a Frank Zappa hologram tour. [READ MORE]

Canadian tel-co Bell Canada proposed that the country’s government set up an independent agency to order web-blocks against copyright infringing websites. Internet service providers are usually resistant to the introducing of web-blocking, though reluctantly accept it once courts start issuing web-block injunctions. But Bell said it actively supported the anti-piracy tactic, and would back a government agency rather than a court of law doing the blocking. [READ MORE]

Royalty Exchange launched a new company called Royalty Flow that is giving investors the chance to get a share of royalties generated by Eminem’s recordings. Royalty Flow plans to buy royalty rights from artists and producers – rather than actual copyrights – providing said music makers with upfront cash in return for future royalty income. Royalty Flow’s first deal is with production duo the Bass Brothers, who get royalties from much of Eminem’s recordings catalogue. [READ MORE]

The big deals from the last seven days in the music business…
• 7digital announced a new alliance with Fender [INFO]
• Temasek bought into CAA [INFO]
• BMG acquired Immediate Music [INFO]
• Big Deal allied with Peermusic [INFO]
• Dualtone announced a deal with the Chuck Berry estate [INFO]
• Interscope re-signed Benny Blanco [INFO]
• Imagem signed Lyra [INFO]
• Warner/Chappell signed Rationale [INFO]

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Thursday 28 September 2017, 09:57 | By

Spotify now being valued at $16 billion by investors

Business News Digital Top Stories

Spotify

As Spotify continues with its march towards becoming a public company on the New York Stock Exchange, sources cited by Reuters say that those involved in the private trading of shares in the streaming music firm are now valuing the business at $16 billion.

Which is $3 billion higher than earlier this year, and some reckon that the company’s valuation could top $20 billion by the time its shares start being publicly traded on Wall Street.

Reuters points out that when investors were valuing Spotify at about $13 billion earlier this year, that meant the business was being valued at just under four times its 2016 revenues. Or – to put it another way – at $13 billion more than its profits.

Some in the investment community note that Netflix is being valued at seven times its current revenues, and are therefore happy to put a higher price tag on Spotify too.

To date the streaming boom has been good news for the music rights sector, which sees the lion’s share of the money the streaming services generate. The services themselves are mainly loss-making at the moment, but the hope is that if and when they reach a certain scale – so a certain number of paying users – they will become profitable.

Of the global paid-for streaming services, only Spotify and Apple currently have the kind of momentum that suggests they could reach that scale, with Amazon another possible contender, probably dependent on how successful its Echo devices ultimately prove to be.

Quite how many paying subscribers Spotify needs to become viable long-term is unknown, because the cash value of each subscriber varies from country to country, and many users are on some sort of discount, either directly or via a mobile bundle.

Not everyone is convinced current sign-up rates can be maintained, though some in investment circles are optimistic about the potential for further growth in the streaming music sector at large, and with Spotify currently the definite market-leader, they are passing that optimism onto the Swedish firm.

Market dominance will also enable Spotify to ultimately secure better deals from the music industry, with the balance of power at the negotiating table likely to have shifted in the digital company’s favour by the time its recently negotiated multi-year licensing deals expire.

In terms of the Wall Street debut – via an unusual direct listing rather than a classic Initial Public Offering – sources are now expecting paperwork to be filed with US regulators by the end of the year for an actual stock exchange listing in the first half of 2018.

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Thursday 28 September 2017, 09:56 | By

Dualtone to represent Chuck Berry’s songs catalogue 

Artist News Business News Deals Labels & Publishers

Chuck Berry

The publishing side of the Nashville-based Dualtone Music Group – which in turn is part of Entertainment One – has announced a deal with Isalee Music Publishing which will see it administer the songs of Chuck Berry, some works US-only, and some on a global basis.

The deal covers many of Berry’s classic hits, plus all the new songs on ‘Chuck’, the posthumous album that was put out by Dualtone’s label earlier this year.

Confirming his company was extending its relationship with the Chuck Berry Estate, Dualtone boss Scott Robinson said: “It’s a real honour to be working with the Berry family, representing Chuck’s songs to the world. These songs are truly an amazing body of work!”

Meanwhile Gary Pierson – who represents both the Berry Estate and the late musician’s own Isalee Music company – added: “This agreement makes it easier than ever to license iconic Chuck Berry songs all over the world. Dualtone did a great job helping to bring Chuck’s last record to the world, and now we are excited to partner with them on his catalogue as well”.

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Thursday 28 September 2017, 09:54 | By

Big Deal allies with Peermusic 

Business News Deals Labels & Publishers

Big Deal Music

LA-based music publisher Big Deal Music, which was set up in 2012 by some former Chrysalis Music execs, has announced a new sub-publishing arrangement with fellow indie publisher Peermusic that covers much of the world (though not America, France, Australia and Africa, so cross them off your map).

Peermusic’s big deal with Big Deal will see it working with the songwriting catalogues of Afghan Whigs, Beach House, Local Natives, My Morning Jacket, Nick Lowe, Pavement, Ray LaMontagne, Sharon Van Etten, Sleater-Kinney and St Vincent, among others.

Says Big Deal’s big boss Kenny MacPherson: “I have admired what Peermusic has stood for and built over the years. As a family business, they have embodied the independent spirit of music publishing, something we’re striving to emulate. It takes great people to build great companies and we’re THRILLED to call them partners”.

Over at Peermusic, its President Kathy Spanberger added: “In many ways, Kenny and his team are kindred spirits to us – they are committed, truly independent publishers who exist to serve their writers. This deal allows us to help maximise opportunities for an incredible roster of songwriters with business partners that we deeply respect”.

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Thursday 28 September 2017, 09:50 | By

Benny Blanco re-signs to Interscope

Business News Deals Labels & Publishers

Benny Blanco

Universal Music’s Interscope Geffen A&M division has extended its contract with producer and songwriter Benny Blanco. The deal will see him continue to work with the major through his own labels, Mad Love Records and Friends Keep Secrets, which he launched in 2014.

Chair of Interscope Geffen A&M, John Janick, says of the news: “Benny Blanco is without a doubt one of the most sought after hit makers in contemporary music who has amazing taste and a gift for identifying emerging talent. We are THRILLED that he has decided to call Interscope his home well into the future”.

“Benny also has an almost divine ability to bring out the best in his collaborators, a track record virtually unmatched by anyone else his age, and he has achieved it all with the kind of humility and self-deprecation that is rare in this industry”, he continues. “We are proud to have him as a key player on our team of the best record-makers in the business. Benny is a giant part of our future”.

Blanco himself adds: “It’s been so easy working with these guys when developing artists can often feel so hard. I couldn’t have a picked a better team of creative minds to work with. I’m really proud to be part of this legendary label and hope that I can make serious contributions to the legacy of Interscope over the coming years”.

Guys, it’s Interscope Geffen A&M. People won’t understand what you mean if you just say Interscope.

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Thursday 28 September 2017, 09:45 | By

AIM seeks to celebrate and support the music entrepreneurs

Business News Industry People Labels & Publishers

AIM

Entrepreneurialism was a theme at the Annual General Meeting of the Association Of Independent Music in London yesterday, with a call for better recognition of the entrepreneurs within the independent music sector, and an acknowledgement of the rise of the artist entrepreneur too.

The indie label trade group’s recently appointed Chair, Tim Dellow of Transgressive, said in a keynote address: “A big part of what we’ll be seeking to do with AIM in the future is to have this real entrepreneurship in the sector recognised both within the industry, and outside of it, generating the same respect and opportunities for all of you hard working, intelligent, ground-breaking entrepreneurs that the UK tech and film industries have”.

Newish AIM CEO Paul Pacifico also announced a new strategic alliance with the body he used to head up, the Featured Artists Coalition, noting that the fastest growing segment of the AIM membership is self-releasing artists, who are in themselves indie labels.

Pacifico also revealed a number of other projects and partnerships the association is pursuing, with the likes of collecting society PRS For Music, business incubator Digital Catapult and affordable rehearsal room business Pirate Studios.

Meanwhile, in the formal AGM proceedings, four new board members were appointed, as follows: Emily Moxon from Brownswood Recordings; Martin Mills from Beggars Group; Nadia Khan from Dench Records; and Nigel Adams from Full Time Hobby.

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Thursday 28 September 2017, 09:43 | By

Chilly Gonzales to run free week-long music performance workshop

Artist News Education & Events

Chilly Gonzales

In what is quite possibly the opportunity of a lifetime, Chilly Gonzales has announced that he will hold a free eight day music performance workshop in Paris next April. Six musicians will be chosen to make the all-expenses-paid trip to what he is calling The Gonservatory.

“Growing up, I had a complex relationship with studying music”, says Gonzales. “I wanted to be inspired and challenged, not ‘taught’. Technical knowledge came quickly, but I struggled to express my feelings in a direct but playful way. I’ve seen so many trained musicians miss out on instinctive musical joy, while those who are self-taught don’t know how to systematically improve their skills”.

“Musicians shouldn’t have to choose between fun and knowledge, it’s a false choice”, he continues. “The Gonzervatory is a place for young musicians to find and strengthen their musical voice, to journey deeper into the emotions and science of their art”.

Places are open to all musicians over the age of eighteen, from anywhere in the world, who write and perform their own material. For more information and to apply, click here. Applications will close on 1 Dec.

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Thursday 28 September 2017, 09:39 | By

Stormzy releases Gang Signs & Prayer: The Movie

Artist News Releases

Stormzy

Stormzy has released a new short film, ‘Gang Signs & Prayer’, based on his debut album of the same name. Directed by Rollo Jackson, the film was premiered at YouTube Space London yesterday.

“Young youts like myself, that grow up in the hood, we often don’t know that we are actually the masters of our own destiny”, says Stormzy. “There are so many things that steer us in the wrong direction, however, we decide what happens in our own lives, and like my album, I endeavoured for this film to portray just that”.

He adds: “Derived from my album ‘Gang Signs & Prayer’, and written and directed by the legend that is Rollo, I’ll let the visual do the talking”.

Chipping in before the visuals actually have a chance to do any talking, YouTube’s Global Head Of Music Lyor Cohen says: “Grime is one of the most exciting genres in the world and I’m ecstatic that trailblazers like Stormzy are garnering the success and recognition they deserve”.

He continues: “The rise of grime is a perfect example of how YouTube is a place for artists to express themselves creatively and a democratic platform to access a global fanbase. We want to help both artists and the industry make the most of technology, and this project is an ideal symbol of that: a groundbreaking film that blends music, art and story in a new way and it’s accessible to all on YouTube”.

You could read that as Cohen actually saying “stop whining about YouTube not paying you enough, we have the power to make or break artists”. And I’m sure you did.

Anyway, here’s the film:

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Thursday 28 September 2017, 09:37 | By

Machine Head announce UK tour

Artist News Gigs & Festivals Releases

Machine Head

American metallers Machine Head have announced that they will tour the UK in May next year, by which point they will have released new album ‘Catharsis’.

“It’s been far too long since we’ve demolished venues in the UK”, says the band’s Robb Flynn – not speaking literally, you understand. Unless they were involved in the demolition of the Astoria and we just didn’t know about it.

“We have had an awesome and productive break writing our new album ‘Catharsis'”, he continues, “but now it’s time for Machine Head to go melt some faces!” Again, not speaking literally, you understand. No need to wear a protective mask.

“The reaction to our last ‘Evening With’ tours in the UK was nothing short of incredible, so once again these dates will be ‘Evening With’ shows and will see us performing two and half to three hours every night, with no opening bands”.

Enthusing about this set up further, he goes on: “We loved performing as an ‘Evening With’ for the UK head cases and you guys loved it as well. The freedom to do whatever the fuck we want, for as long as we want, every night was liberating. Jamming ‘Desire To Fire’ live for the first time in aeons at the ‘Ten Ton Hammersmith’ show in London was epic as fuck!”

“This is not what everyone else is doing” he brags. “And frankly, there are not a lot of bands who could even pull it off, but Machine Head can pull it off, and we are excited as fuck to do it again. We are carving our own path here, playing by our own rules, and as an artist, it’s the best feeling in the world! No festivals, period! No supporting some stupid DJ! The Head will only be ‘headlining’, so come on down and rage!”

So that’s the pep talk complete. Here are the dates:

13 May: Southampton, Guildhall
14 May: Cardiff University
15 May: Bristol, Academy
17 May: Birmingham, Academy
18 May: London, Roundhouse
19 May: London, Roundhouse
21 May: Nottingham, Rock City
22 May: Newcastle, Academy
23 May: Glasgow, Academy
25 May: Manchester, Academy

Tickets go on general sale on Friday.

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Thursday 28 September 2017, 09:34 | By

One Liners: Fender, Miguel, MTV VMAs, more

Artist News Awards Business News Deals Gigs & Festivals Industry People Labels & Publishers One Liners Releases

Miguel

Other notable announcements and developments today…

• 7digital announced a new alliance with guitar maker Fender earlier this week. The digital music provider and radio programme maker said it would “provide services to bolster Fender’s suite of innovative online and mobile products”.

• The West Coast division of Warner’s Atlantic Records in the US – which should probably be called Pacific Records – has a new President in the former of Kevin Weaver. A long-time exec at the major – with a past focus on film, telly and soundtrack projects – in his new role Weaver will “provide broad-based senior executive leadership on the West Coast, underscoring Atlantic’s bi-coastal strength”.

• Lapalux will release new EP, ‘The End Of Industry’, on 13 Oct. The next night he’ll headline London’s Village Underground. Here’s new single, ‘Holding On’:

• Sälen have recorded a cover of Madonna’s ‘Like A Virgin’. If you’re lucky, they might perform at when they play Oslo in Hackney on 25 Oct.

• Aldous Harding is back with a new song, ‘Elation’, an outtake from her great new album, ‘Party’. Here she is performing the song on KEXP:

• Anushka has released new single ‘Do You Have Soul’. “I think in my head this is the imaginary house track that Dilla never made”, she says.

• Mannequin duo FEMM have announced that they will release an album of covers, titled ’80s/90s J-Pop Revival’, on 18 Oct. Their new double a-side single, featuring their take on Yuki Saito’s ‘Sotsugyo’ and ‘Roman Hiko’, is out now.

• Miguel will play the Islington Assembly Hall in London on 11 Oct. Tickets go on sale tomorrow.

• That Rita Ora will be hosting the MTV EMAs when they return to London on 12 Nov. And there’s nothing you can do about that. We checked. And double checked. It’s too late.

• Check out our weekly Spotify playlist of new music featured in the CMU Daily – updated every Friday.

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Thursday 28 September 2017, 09:24 | By

Thurston Moore discusses ‘lost’ techno record

And Finally Artist News

Thurston Moore

Thurston Moore has recorded a techno record. So that’s a thing now. Don’t go looking for it though, even if you were able to find it, it wouldn’t have his name on the cover.

Moore discusses the album on the latest Talkhouse Podcast, on which he’s interviewed by LCD Soundsystem’s Tyler Pope. Pope was keen to discuss Moore’s thoughts on electronic music, but it turned out that the Sonic Youth man had already discussed the topic in another interview with Pitchfork earlier that day. Though that was because Pope had foolishly suggested it as a topic to Pitchfork’s interviewer, it emerged.

In the Pitchfork interview – for the website’s ‘Over/Under’ series – Moore said sternly: “[Techno is] a brain dead exercise of plastic sound”.

He then laughed and added: “I’m sorry, I actually really like a lot of techno. I think it really needs to be discussed in a more academic way than, you know, just as a music for ding-dongs who like to snort coke and try to get laid, but they’re not going to, so they’re just stuck with their shitty techno records … Oh man, have you heard my techno record?”

And there Pitchfork’s Thurston techno chat ends. So it’s lucky the second interview took place, because that quote raised more questions than it answered, I think.

Speaking to Pope shortly after the Pitchfork interview, Moore explains: “They were asking me about techno, so I went really deep on super techno disparagement, and then I flipped it and went into a complete, like, all the accolades I could think of about techno and talking about my [own] lost techno record”.

All of that sounds a lot more interesting than what Pitchfork actually put out. As Pope agrees, while spluttering all over his microphone at the mention of a Thurston Moore techno record.

“I have this lost techno record that I’m holding onto”, Moore continues. “It’s crazy, I’ve never played it for anybody. Nobody wants to hear me do a techno record”.

Pope clearly disagrees. Then Moore goes on to explain that he’d wanted to get techno remixes done of tracks on Sonic Youth’s ‘Ciccone Youth’ album, but that he was outvoted by the rest of the band. “I was at the mercy of being in a democracy, so I couldn’t make it exactly how I would have made it, but I would eventually do that on my solo techno record that no one’s ever heard”.

He doesn’t rule out sharing his own techno dabblings with world at some point. However, he says, “it would be pseudonymous, it’s not going to be under my name. I don’t want anybody to come to it with any sort of preconceived idea, like, this insufferable idiot just made a techno record”.

So now, forever more, every time you hear a really insufferable techno track by a little known producer, you’ll wonder if it was actually Thurston Moore who made it.

If you can get past how much Moore sounds like Gene Simmons these days, you can listen to the full, very interesting Talkhouse interview here:

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Thursday 28 September 2017, 08:28 | By

Approved: Bassh

CMU Approved

Bassh

Musician Jimmy Brown began Bassh in 2015, while living in the US. Working with a variety of collaborators, he put out a handful of limited release singles. Now living back in his hometown of Belfast, he’s stepping things up a gear with new single ‘Go To’.

The song is an infectious blend of upbeat music and downbeat lyrics, recounting the last gasps of a dying relationship. Aided by production flourishes from former Cage The Elephant guitarist Lincoln Parish, its chorus soars above the rest of the track and ensures that the song gets its needles right deep into your skin.

The b-side will be a new version of ‘Animal’, a Bassh single previously unavailable in the UK. You can also catch Bassh live at Koko on 18 Sep, supporting Bleachers.

Listen to ‘Go To’ here:

Stay up to date with all of the artists featured in the CMU Approved column by subscribing to our Spotify playlist.

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Wednesday 27 September 2017, 11:13 | By

More US politicians back American record industry’s bid for radio royalties

Business News Labels & Publishers Media Top Stories

US Congress

Two more members of Congress in the US have formally backed the legislation that is attempting to force American radio stations to pay royalties to record labels and artists as well as music publishers and songwriters. Democrats Jim Cooper and Brad Sherman have now signed on as co-sponsors of the proposed Fair Play Fair Pay Act.

As much previously reported, US copyright law is unusual in that it doesn’t provide a general ‘performing right’ for sound recordings, meaning third parties do not need to secure a licence or pay any royalties to artists and labels when they play a track on the radio or in public. There is, however, a digital performing right, meaning online and satellite broadcasters do need a licence.

This peculiarity of American law means artists and labels do not earn any royalties when their music is played by traditional radio stations, unlike their counterparts in most other countries, and the songwriters and publishers in the US itself. Meanwhile online and satellite broadcasters in America are at a disadvantage to AM/FM broadcasters.

There have been various efforts over the years to introduce a general performing right for sound recordings in the US, the bipartisan Fair Play Fair Pay Act being the latest. The proposed legislation was reintroduced into Congress back in March.

Welcoming the new support of Cooper and Sherman for the radio royalty proposals, Chris Israel from lobbying group musicFIRST said yesterday: “We are so pleased to have Congressmen Jim Cooper and Brad Sherman join our effort to ensure music creators are compensated fairly for their work”.

He went on: “Congress has a historic opportunity to modernise the US copyright system by enacting the ‘Fair Play Fair Pay Act’ and their support shows growing bipartisan momentum behind reform. This bill establishes market-based compensation for music creators across all platforms, and creates fair, technology-neutral rules for music services”.

“With digital and streaming services on the rise in popularity”, Israel continued, “the radio industry needs to adapt to the new market realities and continue to grow alongside them. By clinging on to an antiquated and unfair model – and failing to pay for the music that powers its frequencies – the radio industry is bound to be left behind”.

Fair Play Fair Pay isn’t the only proposed legislation looking to reform musical elements of American copyright law, though not all the proposals have the support of the music community. As previously reported, in July four members of Congress proposed the Transparency In Music Licensing & Ownership Act, which would oblige the US Copyright Office to build a publicly accessible database of music rights ownership information.

The lack of a publicly accessible one-stop database of music rights data has been a big talking point within the music community in recent years of course, poor data adding to the complexities of the streaming business, especially when it comes to paying publishers and songwriters. To that end, various initiatives are underway within the music community attempting to address the music rights data problem.

One of the issues with copyright data is that in most countries there is no copyright registration – copyright is automatic – meaning there is not government agency where copyrights are logged. Actually, in the US there is some copyright registration, overseen by the aforementioned Copyright Office. But that hasn’t helped when it comes to getting publishers and songwriters paid, hence the proposal the Copyright Office set up and run a more sophisticated and substantial database of music rights information.

Which might sound like the sort of thing the music community could get behind. Except the Transparency In Music Licensing & Ownership Act is mainly the result of lobbying by music users rather than music creators – so digital firms and broadcasters – and the US music community reckons that the proposals are impractical, and the sanctions that would be put in place to force creators to input their data unfair.

Or at least, that was the viewpoint expressed by the Content Creators’ Coalition – another lobbying organisation for music people – in a letter sent to the House Committee On The Judiciary last week. While conceding that the music licensing process is currently too complex, and admitting that artists and songwriters more than anyone would like more transparency, the Coalition declared that the TIMLO Act “represents a one-sided approach that would fail to simplify music licensing”.

On the impracticalities of the proposed new database, the Coalition’s letter says “the record keeping mandates in the bill are voluminous and incredibly vague”, noting the use of terms like ‘catalogue number’ which, it says, “are undefined and could mean a number of things”. It also criticises proposals that basically make songwriters and publishers responsible for logging cover versions of their songs. Asks the letter: “How is an artist supposed to register every album on which one of her songs has been recorded, including recordings by other artists they may not even know about?”

The TIMLO Act also proposes some sticks to force music makers to input their data into the proposed new database. In particular, if a non-data-inputting music maker successfully sued for copyright infringement, they might be deprived access to statutory damages and legal costs. “The law should help creators understand and protect their rights”, states the Coalition. “Not create obstacles courses for them to navigate on pain of losing control over their creative work”.

The letter then argues that the TIMLO proposals “actually incentivise the appropriation of creators’ work based on technical or other often innocent shortcomings, removing key deterrents that should discourage music services from doing so”. After name-checking the proposed copyright reforms the Coalition likes – including Fair Play Fair Pay – the letter concludes: “We urge the Committee to reject [these proposals] and to press ahead at full speed with more genuine music licensing reform”.

Although, as mentioned, various industry initiatives are underway to tackle the music rights data problem – after the TIMLO Act was proposed US collecting societies BMI and ASCAP announced their own combined database venture – some reckon that, ultimately, external pressure is required to force the music industry to get its copyright data in order. Though, it has to be said, a government-run database of this kind – even if launched with good motives – would probably be God awful.

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Wednesday 27 September 2017, 11:09 | By

Imagem signs Lyra

Artist News Business News Deals Labels & Publishers

Lyra

Now that indie music publisher Imagem has got itself both a Concord and a Bicycle (I think I got that right) it can get around town – and the globe – much more quickly and therefore check out all the cool dude new songwriters. So that’s good. Though they could have just read about the joys of Lyra in the CMU Approved column back in April last year.

So, yes, Imagem has signed a worldwide deal with Irish electro-pop maker Lyra. Having just jumped off his bicycle, Imagem UK Senior A&R Ed Poston chatted thus: “We are delighted to be working with Lyra. She is an incredible songwriter who creates powerful and engaging songs that move people. Partnering this great music with her incredible voice and stagecraft make Lyra very exciting. We are looking forward to a bright future with her”.

Hiding the fact that they only really did the deal in the hope of getting a ride on that Concord, Lyra’s manager Victoria Becks of Tileyard Music said of the new arrangement: “We are extremely excited that Lyra has joined the wonderful Imagem family. Lyra is an incredible talent; both as an artist and as a writer and I’ve no doubt that partnering with them can only result in something very special”.

But don’t worry, Lyra knows that all Concords have been grounded since 2003. She even knows you spell it Concorde. She’s really signed with Imagem because “they’re so passionate and proactive and they really understand what I’m setting out to achieve”. Plus they really do have some very fine bicycles.

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Wednesday 27 September 2017, 11:07 | By

Warner/Chappell signs Rationale

Artist News Business News Deals Labels & Publishers

Rationale

Warner/Chappell – of Warner/Chappell fame – has only gone and signed London-based singer-songwriter and producer Rationale to a worldwide publishing deal. And just before Warner Bros Records – of Warner Bros Records fame – releases his debut album!

Says Paul Smith, Senior International Creative Manager at Warner/Chappell UK: “Rationale is an incredible all-round artist. I’ve been lucky enough to have worked with him previously, so I know what an amazing talent he is. I’m really looking forward to seeing him develop as a songwriter here at Chappell”.

Meanwhile Rationale himself added: “I know a lot of writers and artists signed to Warner/Chappell. If you ask any one of them, they’ll tell you that their team is nothing short of brilliant. They work incredibly hard and there’s a real family atmosphere that I love. So, when the opportunity arose to sign and work with Paul Smith again, it was a real no-brainer for me!”

Those of you wondering what this previous project involving both Paul Smith and Rationale was all about should learn to mind your own business. Is nothing secret anymore?

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Wednesday 27 September 2017, 11:03 | By

BMG acquires Immediate Music

Business News Deals Labels & Publishers

Yoav Goren, co-founder, Immediate Music; Mitch Lijewski, BMGPM US Managing Director and International SVP; Jeffrey Fayman, co-founder, Immediate Music

BMG Production Music has announced the acquisition of Immediate Music with immediate effect. IMMEDIATE EFFECT. God, I’m funny. Did you see what I did? I crack myself up. Immediate effect. Where else would you get a combination of information and jokes that sharp? Nowhere, that’s where.

Formally launched in February, BMG Production Music is currently in acquisition mode to build its market share – as per the strategy employed by other BMG divisions. Just the other week the production music unit acquired French company AXS Music.

Immediate specialises in providing ‘epic’ music for film trailers, and to date has created and licensed music for and to over 4000 movie promo campaigns. Recent placements include ‘Blade Runner 2049’, ‘Wonder Woman’, ‘Star Wars: Rogue One’ and ‘Monkeys With Guns 3’. It has also provided tracks for brands such as Coca-Cola and McDonald’s, plus TV shows like Netflix’s ‘Stranger Things’ and ‘Narcos’.

BMGPM MD Geert-Willem Koolhof says of the deal: “Production music is one of the fastest growing segments in the industry and BMGPM continues to strengthen and develop the most competitive team in the marketplace. I’m pleased to welcome Jeff [Fayman], Yo [Goren] and the Immediate team to BMG”.

Yo – or Yoav Goren to give the Immediate Music co-founder his full name – adds: “We are extremely excited to join the BMG family. We’ve always shared the same goals and sensibilities – to produce a unique brand of quality music while emphasising the highest level of service to our clients”

He went on: “With this new synergistic collaboration, our teams will usher in a new chapter of creativity, opportunity and expansion into a market hungry for the uncompromising levels of quality BMG Production Music is set to deliver. I can’t wait to get started!”

Yeah? Well I can’t wait to get finished, so I’m going to stop writing now.

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Wednesday 27 September 2017, 10:59 | By

CAA sells stake to investment firm Temasek

Business News Deals Live Business

CAA

Singapore-based investment firm Temasek – last seen pumping money into that ominous looking SoundCloud – has taken a stake in talent agency CAA, it has been announced. Neither the size of the stake nor the amount of money that has changed hands has been disclosed, so don’t even ask.

CAA President Richard Lovett said: “As one the most successful and sophisticated investors in the world, Temasek provides an extraordinary level of insight and resources as we continue to provide the best opportunities for the company and our clients”.

He added: “Today’s announcement speaks to the incredible growth and relentless innovation across all areas of the agency. We have a combination of partners that provide global firepower for our continued success”.

Who wouldn’t want a stake in “relentless innovation”? They just won’t stop innovating over there at CAA. Can’t stop. Oh God, the innovating.

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Wednesday 27 September 2017, 10:56 | By

Live Nation launches Facebook Messenger bot

Business News Digital Live Business

Live Nation

Live Nation has launched one of those Facebook Messenger bots I keep hearing The Kids talking about in a hushed, reverential tone on the bus.

Once the live giant’s bot is activated, you can have a little chat with it about gigs you might like to go to. It’ll even open up the Live Nation website within the chat app so that you can book the tickets right there and then. Let’s hope it doesn’t go rogue and start tricking people into buying tickets at hiked up prices on one of Live Nation’s secondary ticketing sites.

“Concerts are extremely social experiences, and we’re excited to introduce a concert discovery tool that embodies that social spirit”, says Chief Marketing Officer of Live Nation Concerts Lisa Licht. “Whether fans choose to interact with our new bot one-on-one, or get their friends involved in the planning, we think they’ll have a lot of fun finding shows to go to”.

The bot currently only works with events in North America. I just tried it out and my word it was so much social fun. I still feel giddy from all the excitement of pretending to book Jack Johnson tickets in Florida. Although a large part of that was the joy of knowing that – having not gone through with the transaction and being nowhere near Florida – I won’t actually have to see or hear Jack Johnson.

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Wednesday 27 September 2017, 10:55 | By

Field Music to host Brighter Sound music-making masterclass

Artist News Education & Events

Field Music

Field Music’s Peter and David Brewis are to host a Brighter Sound residency in their hometown of Sunderland in November. As with other such events, it will see the musicians working with emerging artists over the course of a week, exploring their creative process and creating a collaborative recording.

Speaking about the event, David Brewis says: “At some point, quite early on, we realised that no one was going to show us how to make the records we wanted to make – slowly and awkwardly we had to figure it out ourselves. I hope this project will be the kind of thing we needed back in 2001 – maybe a bit of inspiration, a few technical tips, a little kick up the arse and the fun of trying things out with a bunch of other musicians in a similar boat”.

Ten musicians and songwriters will be chosen to take part in the sessions, which will take place from 13-17 Nov. For more information and to apply, click here. The deadline is 8 Oct.

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