Thursday 28 February 2019, 11:52 | By

UK Music calls on MEPs to back copyright directive, confirms cross-party support on business rate discount for venues

Business News Legal Live Business Top Stories

UK Music

Cross-sector trade group UK Music has called on MEPs to back the final draft of the European Copyright Directive when the European Parliament votes on the latest version of the frequently controversial copyright reforms.

Representatives of the Parliament, European Commission and EU Council agreed a final draft earlier this month and earlier this week it was voted through by the former’s legal affairs committee. The last major hurdle for the reforms to cross is a vote of the full Parliament, where critics remain of the directive, and especially the music industry backed safe harbour reforming article thirteen. The full EU Council must also vote it all through.

The music community has been pretty united in lobbying for that safe harbour reform which will increase the copyright liabilities of user-upload platforms like YouTube.

Though as the very final draft was being negotiated, reps for the record labels and music publishers expressed concerns about the direction article thirteen was taking and announced that they now thought the directive should be abandoned altogether.

This angered groups repping artists and songwriters, which pointed out that, alongside article thirteen, there are other measures in the directive designed to increase their rights over their corporate business partners, ie labels and publishers.

However, UK Music brings together trade organisations for labels, publishers, artists and songwriters, and – following this week’s legal affairs vote – it urged EU law-makers to now see the directive through to completion.

It said in a statement: “UK Music and its members have always supported constructive steps to foster a fair music licensing environment that benefits creators, performers and those who invest in them. We have campaigned for this together through [our] #LoveMusic [campaign] and the final compromise text of the copyright directive is a notable step in that direction”.

“In relation to article thirteen”, it continued, “we welcome the fact that the compromise text clearly establishes that online content sharing service providers should not be entitled to avoid the need to secure licences from rightsholders. As has been widely reported, the text of this article in particular has been the subject of fierce and passionate debate and the final result includes a number of compromises”.

“With this in mind, we ask the EU Council and MEPs to support the directive”, it said, before noting that, even once passed, each EU member state must implement the reforms. To that end, UK Music concluded: “We [also] call on individual member states to ensure that the copyright directive, if successfully adopted, is implemented in a way that achieves its original purpose and benefits the whole of the industry”.

Elsewhere in UK Music news, the lobbying group has confirmed that it now has cross-party support in Westminster for music venues being added to a list of company types that benefit from a business rates discount. UK Music and the Music Venue Trust hit out at the government earlier this year when it was confirmed that, while pubs and restaurants benefit from the discount, grassroots music venues do not. Despite a recent rejig of business rates already causing big problems for the grassroots venue network.

UK Music boss Michael Dugher and Labour’s Shadow Culture Minister Kevin Brennan have met with the government’s top money man, Chancellor Philip Hammond, to discuss the problem. Meanwhile, Parliamentarians from across the political spectrum, including Tories Ed Vaizey and Greg Knight and Lib Dem Jane Bonham-Carter, have all backed the a call for the Chancellor to provide a lifeline to venues facing business breaking rate hikes.

On the recent meeting with Hammond, Dugher said: “I’m pleased that the Chancellor listened to what we had to say about why we need a specific targeted change on business rates to safeguard the future of so many of our cherished grassroots venues. Grassroots music venues are a crucial part of the music ecosystem that generates future talent for an industry that contributes £4.5 billion to our economy”.

“The current position discriminates against music venues compared to pubs and bars”, the UK Music CEO continued. “Unless the Chancellor revisits this issue, there is a very real danger that too many venues will have to turn off the music or even shut down for good. If UK plc wants to retain its preeminent position as being a world leader in music, our industry needs the strategic support of government”.

Meanwhile, Brennan added: “In last year’s UK Live Music Census, 33% of small music venues reported that business rates increases had an ‘extreme, strong or moderate’ impact on their existence in the past twelve months. The Chancellor must recognise the importance of these venues as the R&D of the UK’s successful music industry and extend the rates discount given to pubs to protect their future”.

“In an age where stadium gigs are increasingly expensive, independent music venues are accessible, inclusive and affordable places for everybody to experience live music”, the MP continued. “These venues are the lifeblood of the £4.5 billion music industry, providing much needed opportunities for up and comers and local talent to learn and develop their craft”.

READ MORE ABOUT:

 

Thursday 28 February 2019, 11:50 | By

Nicki Minaj hits back in Tracy Chapman sample lawsuit

Artist News Business News Labels & Publishers Legal

Nicki Minaj

Nicki Minaj has hit back at Tracy Chapman’s lawsuit – in which the latter accuses the former of sampling her song ‘Baby Can I Hold You’ without permission – by employing two of the classic defences in American copyright infringement cases: “you don’t own the rights in the song you say I ripped off” and “it’s all fair use anyway”.

Chapman went legal last October over a sample that appears in a track called ‘Sorry’, which was originally intended to feature on Minaj’s album ‘Queen’. The track was dropped from the LP, seemingly because of issues licensing the sample, but it’s alleged that Minaj’s people nevertheless leaked the record to a US radio DJ who then played it on air. Fans then grabbed the track from the broadcast and shared it online.

Minaj’s legal filing confirms that her people did indeed try, unsuccessfully, to license the sample. Something we already knew, because – ahead of the release of ‘Queen’ – Minaj tweeted about the licensing issues and asked fans whether she should push back the release of her album to allow the issues to be addressed, or just launch the record without ‘Sorry’. She subsequently did the latter.

Despite having sought a licence at the time, Minaj’s people are now claiming that the sample was in fact covered by the US copyright principle of fair use, meaning no licence was actually required. Also, this week’s legal filing argues, Chapman doesn’t control the copyright in ‘Baby Can I Hold You’, so doesn’t have the right to sue over the sample anyway.

That latter argument is based on the fact that the copyright in the Chapman song is registered as belonging to two music companies with which she previously had dealings. For her part Chapman claims the copyright reverted to her in 2016. But the Minaj side seemed to be saying that the required admin wasn’t done to allow Chapman to litigate.

If the fair use and registration technicality defences fail, Minaj also argues that any copyright infringement that may or may not have occurred was minimal, because ‘Sorry’ was never released and only had some airplay. The aim there will be keep down any damages if the other defences fail.

We now await a response from the Chapman side.

READ MORE ABOUT: |

 

Thursday 28 February 2019, 11:49 | By

Glastonbury bans single-use plastic bottles from festival site

Business News Gigs & Festivals Live Business

Glastonbury Festival

Glastonbury Festival has announced that it is banning the sale of drinks in disposable plastic bottles at this year’s event. It will also not provide drinks in plastic bottles backstage.

“Our partners Greenpeace estimate that, globally, up to 12.7 million tonnes of plastic end up in our oceans each year”, says the festival in a statement. “Greenpeace advise that by far the best way to avoid plastic pollution is to reduce plastic usage. With more than one million plastic bottles sold at Glastonbury 2017, we feel that stopping their sale is the only way forward”.

Recognising that drinking water is important, festival organisers note that there are numerous taps on site connected to the local mains water supply. This year there will also be an increase in WaterAid kiosks, where reusable drinking water bottles can be refilled, as well as free drinking water at all bars on site. The sale of drinking water in aluminium cans will also be permitted – organisers noting that 45 million tonnes of aluminium cans were recycled by its own on-site recycling centre in 2017.

“It’s paramount for our planet that we all reduce our plastic consumption”, says Glastonbury’s Emily Eavis. “Together, we’ll be able to prevent over a million single-use plastic bottles from being used at this year’s festival. I really hope that everyone – from ticket-holder to headliner – will leave Worthy Farm this year knowing that even small, everyday changes can make a real difference. It’s now or never”.

A Glastonbury branded reusable steel water bottle is now on sale via the festival’s website. Proceeds from sales of these will go to WaterAid and sustainability charity The Raw Foundation.

READ MORE ABOUT:

 

Thursday 28 February 2019, 11:47 | By

The Jacksons talk about Leaving Neverland

Artist News Media

Michael Jackson

The family of Michael Jackson say they are not surprised that a new documentary has been produced revisiting abuse allegations made against the late king of pop, especially with the tenth anniversary of his death coming up. But they continue to criticise that documentary – HBO’s ‘Leaving Neverland’ – mainly on the basis that it doesn’t feature any family members or defenders of Jackson who, they say, should have been given an opportunity to respond to the allegations on camera.

The Jackson estate, of course, has called on HBO to cancel the film, which tells the story of two men who allege they were abused by Jackson as children. After the broadcaster declined to dump the show, the estate’s lawyers went legal, citing a 1992 contract signed when HBO aired one of the pop star’s live shows, in which the media firm committed to not disparage Jackson in any future programmes.

Speaking to the Associated Press, Jackson’s oldest brother Jackie said that, when he first heard about the new film, “I thought, ‘oh here we go again'”.

Jackson’s nephew Taj then added: “It’s going to be the ten year anniversary [of my uncle’s death]. I remember, a year ago, I was like, ‘this is too appetising for the media – they’re going to do something’. This is the time when everyone comes out of the woodwork, the same cast, the same characters that have been discredited throughout the years. They have a platform now to talk about Michael Jackson”.

Another of the Jackson brothers, Tito, said that the family would have definitely spoken to the documentary’s makers if given the chance. “Oh, we definitely would have come and talked to them about the situation … to protect our brother”, he said. “He’s not here no more. He’s passed, and, we’re his brothers, we’re supposed to do this”.

Marlon Jackson was also part of the interview and went on: “I look at it as yes, you’re protecting your brother, but you’re telling the truth, and we want people to understand the truth. And I do not understand how a filmmaker can make a documentary and not want to speak to myself or some of the other families that were at Neverland”.

The documentary will start airing this weekend on HBO in the US, while in the UK it will be screened by Channel 4 next Wednesday and Thursday.

READ MORE ABOUT:

 

Thursday 28 February 2019, 11:46 | By

Ukraine pulls out of Eurovision, after more acts refuse to take part

Artist News Media

Eurovision Song Contest

Ukraine has withdrawn from the Eurovision Song Contest entirely, after failing to find an act willing to sign a contract put forward by state broadcaster UA:PBC. The original artist expected to perform for Ukraine – Maruv – pulled out earlier this week following a dispute over the terms of that contract.

UA:PBC said in a statement yesterday that it could not find “any performer from among the participants” who took part in the search for this year’s entrant now willing to take part.

The contract at the heart of the dispute required the country’s Eurovision entrant to cancel all shows in Russia and commit to not tour there for three months after the contest. It also stated that the artist could not say anything on stage or to journalists without prior approval from the broadcaster.

Ukraine’s Eurovision contestant is chosen via TV show ‘Vidbir’, with public and jury votes. Maruv won ‘Vidbir’ on Saturday. However, it was later announced that contract negotiations had stalled and she would no longer be put forward for the contest. The singer said that various clauses in the contract amounted to “censorship”, forcing her to become “a tool in the political arena”. The broadcaster implied that she just wasn’t patriotic enough, saying that they could not reach an agreement over the “commitments of becoming a cultural ambassador of Ukraine”.

UA:PBC said it would move on by offering Ukraine’s place in the contest to another act. Although the broadcaster wasn’t clear on who this might be at the time, in its statement yesterday it explained that the rules of the selection process state that if the first place artist cannot take part, the position is offered to the second and third place contestants. But those artists, vocal group Freedom Jazz and dance trio Kazka, both declined.

In a Facebook post, Freedom Jazz said that they had “refused to take part” after being asked. Kazka said on Instagram that they had turned down the offer to represent Ukraine because their “mission is to unite people with our music, not to sow discord”.

UA:PBC said the selection process rules meant that it would now have to withdraw the country from the competition, blaming as “excessive politicisation of the national selection process”. As it was, the next act on the list, rock band Brunettes Shoot Blondes, had already issued a statement saying that they would not accept if asked. “Our band did not win”, they said. “This trip is not ours”.

Twin sister pop duo Anna Maria, who came sixth in ‘Vidbir’, issued a statement following the announcement of Ukraine’s withdrawal from Eurovision, welcoming the news.

“Ukraine is looking for its way”, they wrote on Facebook. “How many times has our country been wrong? We so want Ukraine to find its way! The way to happiness of your people. People who first want to live in this country and develop. People who will respect each other’s opinions”.

“We are glad that … the whole situation with us at Eurovision has become a kind of catalyst and revealed the true essence of many people”, they went on. “The abscess, which has long been growing, has finally burst. And it exposed people as they are – with their shortcomings, courage, cowardice, anger and kindness”.

“Music is stronger than politics”, they concluded.

Putting a less positive spin on what has happened, UA:PBC said in its statement that this process had highlighted “systemic problem of the music industry in Ukraine”. Namely, musicians continuing to perform in “the aggressor state” of Russia, five years into a conflict between the two countries.

It noted that there are no laws in Ukraine prohibiting artists from travelling to Russia and that society is split on whether or not this is an acceptable situation. In order to gauge public feeling on this, it will “initiate a public dialogue in the format of talk shows, forums and discussions with the participation of leading experts in the field”. Although it added that it would also propose new laws regulating Ukrainian artists’ activity in Russia.

The ongoing tensions between Ukraine and Russia have spilled over into Eurovision a number of times in recent years. Russia threatened to boycott the 2017 event after Ukraine won in 2016. Then, when Russia did put forward an entry, Ukraine barred singer Julia Samoilova from entering the country to perform at the contest in Kiev.

READ MORE ABOUT:

 

Thursday 28 February 2019, 11:44 | By

BBC and ITV confirm plans to launch video-on-demand service in UK

Business News Digital Media

Britbox

The BBC and ITV have confirmed that they are close to agreeing a strategic partnership that will result in the launch of a new video-on-demand service in the UK, offering access to programmes made by the two broadcasters.

It’s the latest attempt by traditional telly-makers in the UK to launch a joint video-on-demand platform, previous alliances resulting in the short-lived SeeSaw and the still going YouView. The new project will actually extend an existing BBC/ITV joint venture service called BritBox, currently operational in North America, back onto home turf.

This is obviously an attempt by the traditional broadcasters to try to take a slice of the now buoyant video streaming market from dominant players Netflix and Amazon Prime. Though, whereas the SeeSaw venture was probably too early, the big UK launch of BritBox has possibly come too late. We’ll see. You know us, always the optimists, never the naysayers.

Bosses at the Beeb and ITV say that they have agreed a creative vision for the new UK-based service and are now talking legals. They will also discuss their plans with other British broadcasters and media regulator OfCom.

Says ITV chief Carolyn McCall: “I am really pleased that ITV and the BBC are at the concluding stage of discussions to launch a new streaming service. BritBox will be the home for the best of British creativity – celebrating the best of the past, the best of today and investing in new British originated content in the future”.

Meanwhile BBC top dude Tony Hall adds: “I am delighted that the BBC and ITV are working together on something truly special – BritBox. A new streaming service delivering the best home grown content to the public who love it best. The service will have everything from old favourites to recent shows and brand new commissions. It’s an exciting time for the viewing public”.

READ MORE ABOUT: | |

 

Thursday 28 February 2019, 11:38 | By

Approved: Pinty

CMU Approved

Pinty

Rapper Pinty released his debut single, ‘Tropical Bleu’, last year. Now, ahead of the release of his debut EP ‘City Lights’, comes another track from it – ‘Nightcrawler’ – which is out tomorrow.

The EP is produced by King Krule – under the alias DJ JD Sports – who has helped Pinty develop his subdued, late night sound over a number of years.

While Pinty taps into various genres, on ‘Nightcrawler’ the beat draws heavily on garage, a slightly nostalgic theme that stretches to the EP’s title too, which is a tribute to an early 2000s graffiti artist active in the UK garage heyday.

Listen to ‘Nightcrawler’ here:

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

READ MORE ABOUT:

 

Thursday 28 February 2019, 11:35 | By

One Liners: Adam Lambert, Offset, Wiley, more

Artist News Gigs & Festivals One Liners Releases

Adam Lambert

Other notable announcements and developments today…

• Adam Lambert has released a new live performance video of new single ‘Feel Something’. “This was written about me climbing out of the low period, defying my disillusionment, owning my needs, and opening my heart”, he says of the track. “The life of a bachelor can be a laugh, with plenty of flings, but after a while it starts to feel empty. Between frustrations with my career and many lost connections, I felt numb – and though I wanted to fall in love, I knew I wasn’t ready”.

• Offset has released a video for his track ‘Quarter Milli’ featuring Gucci Mane.

• Skepta and Wiley’s beef continues, with the latter releasing new diss track ‘Don’t Bread Me’. It follows Skepta’s ‘Wish You Were Here’.

• Deafheaven have released new track ‘Black Brick’.

• Self Esteem has released new single ‘Girl Crush’. “‘Girl Crush’ is a reaction to the term itself”, she says. “It should just be known as a crush. This isn’t a ground-breaking gender and sexuality statement; it’s just common sense. Women aren’t a fun new cool thing for straight women to try – and in an age of pop songs about ‘kissing girls’ and ‘trying it on for size’, I felt like saying ‘well you know, that’s not much fun for the person you’re experimenting on?’ It’s a difficult thing to talk about but it’s something I can make a banging pop song about”.

• Flohio is back with new single ‘Bandage’.

• Octo Octa has released another new track from her upcoming EP ‘For Lovers’, ahead of its release tomorrow. Here’s ‘Bodies Meld Together’.

• Tahiti 80 have released the video for new single ‘Hurts’.

• Popcaan has released the video for ‘Firm & Strong’, from his 2018 album ‘Forever’.

• The shortlist for this year’s Penderyn Music Book Prize has been announced. And the nominees are: Shirley Collins’ ‘All In The Downs’, Brett Anderson’s ‘Coal Black Mornings’, Danhancox’s ‘Inner City Pressure – The Story Of Grime’, Garth Cartwright’s ‘Going For A Song – A Chronicle Of The UK Record Shop’ and the ‘Beastie Boys Book’. The winner of the £1000 prize will be announced on 7 Apr at music book festival the Laugharne Weekend.

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

READ MORE ABOUT: | | | | | | | | | |

 

Thursday 28 February 2019, 11:24 | By

Ed Sheeran among artists considered too “pornographic” for Indonesian radio

And Finally Artist News Media

Ed Sheeran

Ed Sheeran, The Killers and Bruno Mars are among a number of artists to have songs banned from daytime airplay on Indonesian radio due to the “pornographic” content of their lyrics.

The West Java branch of the Indonesian Broadcasting Commission earlier this week announced a list of seventeen Western and Western-influenced songs deemed too racy to play outside of late night broadcasting. Airing of these songs – including Sheeran’s ‘Shape Of You’, The Killer’s ‘Mr Brightside’ and Makes Me Wonder’ by Maroon 5 – was recommended to only take place between 10pm and 3am.

“In this case, what is banned is not the songs, but the lyrics of the songs that contain pornography, pornographic association and obscenity”, explains Deputy Chair of the broadcaster’s central office, Rahmat Arifin, according to Tempo.

This follows the proposal of a new law put forward to the Indonesian government last month, which aimed to restrict “pornographic content” and “negative foreign influences” in music. The bill was heavily opposed by Indonesian musicians.

Ed Sheeran, by the way, is set to perform his pornographic music in Jakarta in May.

The full list of songs deemed offensive is as follows:

88Rising – Midsummer Madness
Agnez Mo & Chris Brown – Overdose
Ariana Grande & The Weeknd – Love Me Harder
Bruno Mars – That’s What I Like
Bruno Mars – Versace On The Floor
DJ Khaled – Wild Thoughts
Eamon – Fuck It (I Don’t Want You Back)
Ed Sheeran – Shape Of You
Machine Gun Kelly & Camila Cabello – Bad Things
Marc E Bassy – Plot Twist
Maroon 5 – Makes Me Wonder
Pharrell Williams & Camila Cabello – Sangria Wine
Rita Ora – Your Song
The Killers – Mr Brightside
Yellow Claw – Till it Hurts
Zayn – Dusk Till Dawn
Zayn – Let Me

READ MORE ABOUT: | | | | | | | | | | | |

 

Wednesday 27 February 2019, 12:46 | By

Spotify launches in India, but legal spat with Warner continues

Business News Digital Labels & Publishers Legal Top Stories

Spotify

Spotify has finally launched in India. At last! At least, if nothing else, that means all the endless “I wonder when Spotify is going to launch in India?” chatter and all that “Spotify is going to launch in India this week!” speculation can come to an end. And thank fuck for that. I hate wondering and speculation.

Hey, I wonder when Spotify is going to launch in Africa! Later this year maybe? Actually, both me and a room full of great Tanzanian artists would really like to know the answer to that question. Could we have it by lunchtime maybe?

But yes, India. And Spotify in India. “With today’s launch in the world’s second most populous country”, says the streaming firm, “Spotify is making its way to the fastest growing market globally for mobile apps”. Not only that, the statement brags on: “Spotify comes to India offering the best listening experience in local and international music, with the Spotify app available to download for free or with an upgrade to Spotify Premium for only INR 119 per month”.

That monthly subscription equates to about £1.25 and is similar to the price charged by other streaming services already live in the Indian market. Student discounts and daily and weekly subscriptions are also available, again in line with other services in the country.

There has been much discussion in the last year, of course, about what the right price point is for streaming in any one country, with global rights owners expressing concerns that, with emerging markets accounting for an increasing number of overall subscribers, the global average revenue per user is falling.

Avoiding that tricky topic of conversation, Spotify boss Daniel Ek hailed his company’s long-waited Indian launch by saying: “As Spotify grows, our goal is to bring millions of artists and billions of fans together from every country and background. India has an incredibly rich music culture and to best serve this market, we’re launching a custom-built experience. Not only will Spotify bring Indian artists to the world, we’ll also bring the world’s music to fans across India. Spotify’s music family just got a whole lot bigger”.

Ah yes, the world’s music streaming away in India. But what, you might be thinking, about those Anglo-American songs published by Warner/Chappell? Are they streaming?

Warner, of course, pre-empted Spotify’s big Indian launch by marching to a court in Mumbai on Monday seeking an injunction that would confirm that Spotify cannot rely on a statutory licence for the Warner/Chappell songs catalogue in the country.

The mini-major had told Spotify at the last minute that it couldn’t, in fact, have a licence for India covering those Warner-published songs that it licenses directly for streaming. Spotify then accused Warner of refusing that licence late in the day as leverage in global deal negotiations that have nothing to do with its Indian launch.

Warner refusing a licence for its songs catalogue creates problems for Spotify because it will impact on any recordings from other labels that contain Warner/Chappell songs and also plenty of songs that are co-owned by other publishers with which the streaming service has a licence. Spotify itself pointed out that Warner could control just 1% of a song and, by refusing a licence, recordings of that song technically couldn’t stream.

On top of that, there is the issue that Spotify doesn’t usually know what songs it is actually streaming, the labels and distributors uploading tracks but providing no precise information on what song any one recording contains. Therefore, Warner withholding its songs catalogue was arguably more problematic than it refusing to allow its recordings to be streamed.

In an attempt to counter this sneaky manoeuvre on the major’s part, Spotify decreed that it reckoned it could, if necessary, rely on a statutory licence for Warner’s songs in India.

Statutory or compulsory licences are where copyright law forces a rights owner to license their music at standard rates. Indian copyright law has statutory licences for the mechanical copying of songs and for broadcast – the latter of which was extended to cover online broadcasting. But the question is: should that apply to a Spotify type service?

Warner argued not, hence the legal action. The major wanted an injunction confirming that statutory licences in India did not apply to on-demand streaming services. But, having received Warner’s legal papers on Monday, the court declined to issue an immediate order to the effect that Spotify was banned from streaming Warner-published music. However, the legal action will continue, with Spotify ordered to account and pay to the court any royalties due to Warner/Chappell until the matter is resolved, one way or another.

It was a ruling that allowed both sides to claim partial victory. Spotify said in a statement yesterday: “We’re pleased with today’s outcome. It ensures songwriters, artists, labels and publishers will benefit from the financial opportunity of the Indian market and that consumers will enjoy an excellent Spotify experience. As we’ve said all along, we’re hopeful for a negotiated solution with Warner based on market rates”.

Warner then responded: “We welcome the court’s decision to direct Spotify to deposit monies with the court and to maintain complete records of any use of our music as well as all advertising and subscription revenue earned by Spotify. These are positive steps to protect our songwriters’ interests”.

Providing more details on what the court in Mumbai had actually said, the major’s statement then continued: “We’re also pleased that Spotify cannot pursue proceedings for their claim to a statutory licence before the Intellectual Property Appellate Board for a period of four weeks. Our copyright infringement case will continue on an expedited basis”.

So, the legal spat continues to go through the motions as tracks start to stream via the Spotify platform in India. And while both sides continue to insist that they desperately want to reach a voluntary licensing deal for the Warner/Chappell catalogue in India, Spotify and Warner have nevertheless been issuing blunt statements as this dispute has gone public. Warner has taken particular issue with Spotify’s claims that it had acted in an improper way.

“Spotify’s comments yesterday about our fair market negotiations were appalling to us”, Warner added in its statement yesterday. “We’re shocked that they would exploit the valuable rights of songwriters without a licence”.

Actually, in the early days of digital music it was quite common for services to go live without all their song licences in place, partly because of the complexity of song licensing, and partly because label deals were generally prioritised because it was those that got the platforms the content they needed. Although, it has to be said, the “I’m sure it will be fine in the end” approach didn’t work out all that well for Spotify in the US.

It will be interesting to see how quickly this particular stand-off can be resolved and whether the tough talking on both sides continues.

It will also be interesting to see what Warner-published writers think about the squabble. When publishers negotiate direct deals with streaming services, those deals only generally cover Anglo-American repertoire and – outside the US – they bundle in performing rights that actually belong to each songwriter’s collecting society, rather than the publisher directly.

If, as Spotify claims, Warner has refused to license its songs in India in order to score leverage in wider deal making on a global basis, some songwriters might not be too pleased. Especially if the catalogue involved in the dispute includes performing rights that Warner is merely repping on behalf of the likes of collecting societies PRS, IMRO and APRA.

So, while all chatter about when Spotify will finally launch in India must now end, there will likely be plenty of ongoing chatter about the issues that occurred around the Indian launch.

READ MORE ABOUT: | |

 

Wednesday 27 February 2019, 12:41 | By

European Parliament’s legal committee approves final copyright directive text

Business News Digital Labels & Publishers Legal

European Commission

The European Parliament’s legal affairs committee has voted through the final draft of the European Copyright Directive, with sixteen votes in favour and nine against. It seemed likely that the so called JURI committee would back the final draft of the long-time-in-development copyright reforms, with the still-to-come vote of the full Parliament the more tricky test. But nevertheless, it’s another hurdle crossed.

That directive, of course, includes the music industry backed safe harbour reforms and various new rights for artists and songwriters. The European Composer And Songwriter Alliance joined groups representing authors and film-makers yesterday in welcoming this latest development in the directive’s long journey to becoming law.

They said in a statement: “We warmly thank all the MEPs who supported the copyright directive and in particular those who fought hard to strengthen the authors’ bargaining power and improve their remuneration. Today’s vote sends a positive and historical signal to all citizens who want to write, compose, create and be fairly remunerated for their work. We now encourage all members of the European Parliament to formally adopt the copyright directive without further delay”.

READ MORE ABOUT:

 

Wednesday 27 February 2019, 12:39 | By

Global Radio to significantly cut back local programming

Business News Media

Global

UK radio firm Global will reduce the amount of local programming on its Capital, Heart and Smooth networks, capitalising on a relaxation of broadcasting rules that followed a consultation by media regulator OfCom last year.

It means that each of three networks will now have a single national breakfast show, rather than local programming going out in the prime time slot. There will still be local shows during drive time, though the total number of local drive time programmes will be reduced.

The Capital, Heart and Smooth networks are made up of what were historically numerous local radio stations, each based in and serving a specific area. Once those local stations were in common ownership they started sharing some programming to reduce costs, though they still all had their own distinct brands.

Then, in 2011, Global phased out the local names so that the Capital, Heart and Smooth brands could operate nationally. Though the OfCom licences for each area still demanded some local programming and news content. As they still do, only less so.

The increased networking of shows – which will also affect Capital, Heart and Smooth stations actually operated by another company, Communicorp – will obviously result in a reduction in the number of presenters and behind the scenes staff employed by the stations. Radio Today reckons over 95 presenters may be affected by the development.

Commenting on the big change, Global boss Ashley Tabor told Radio Today: “Whilst the new deregulation will mean some significant changes at an operational level, these bold steps enable Global to lead the way in launching the UK’s three largest national commercial radio breakfast shows. We’re really excited to combine the best national talent with our unique ability to include great local content in network shows on Heart, Capital and Smooth”.

READ MORE ABOUT: | | |

 

Wednesday 27 February 2019, 12:37 | By

Ukraine drops Eurovision entrant after she refuses to sign contract due to “censorship”

Artist News Media

Eurovision Song Contest

Ukraine has deselected its Eurovision entrant, Maruv, who was chosen via a public vote on Saturday, after her contract negotiations with state-funded broadcaster UA:PBC failed. The contract required her to cancel upcoming performances in Russia, although she says that other stipulations amounting to “censorship” were the real sticking point.

In a statement on Facebook, Maruv says that she had no issue with cancelling Russian performances, something that was requested due to ongoing political tensions between the two countries. She goes on: “The main differences were caused by other clauses of the agreement, which, if I sign, will enslave me. I am a citizen of Ukraine, pay taxes and sincerely love Ukraine. But I’m not ready to come up with slogans, turning my stay at the contest into promotion of our politicians”.

According to ESCXtra, included in the terms of the contract were stipulations that she must have prior approval for anything she says on stage or to journalists. Hefty fines were put in place for any deviation from the agreed rules.

In a statement, UA:PBC says: “The performer representing Ukraine … also has commitments of becoming a cultural ambassador of Ukraine and delivering not only their music but also expressing the opinion of the Ukrainian society in the world. After the negotiations, UA:PBC and the singer Maruv have not found common ground in the mission of the representative of Ukraine at the international song contest”.

CEO of UA:PBC, Zurab Alasania, adds in a further Facebook post that the Eurovision contestant should have the correct attitude to any “public comments relative to the integrity of Ukraine or that can hurt Ukraine at the international level”.

“Not all good Ukrainian artists are ready to represent our culture”, he adds.

This in part relates to the ongoing political tensions between Ukraine and Russia, which have seeped into the supposedly a-political Eurovision Song Contest a number of times in recent years. When Ukraine hosted the contest in 2017, it barred Russia’s entrant, Julia Samoilova, from entering the country. Although she was offered the opportunity to perform remotely from Russia, in the end the country withdrew from the competition entirely.=

Prior to that, Russia had threatened to boycott Eurovision anyway, in protest at Ukraine’s winning entry in 2016. Jamala’s song, ‘1944’, about the deportation of Crimean Tatar people by Josef Stalin in the year of its title, had been controversial ever since it was selected as Ukraine’s Eurovision entry.

Many felt the song was a political comment on Russia’s annexing of Crimea from Ukraine in 2014, something Jamala herself seemed to admit initially. Despite protestations that this broke Eurovision’s ‘no politics’ rules, the song was allowed to proceed to the competition and subsequently won.

Anyway, while we wait to see which Ukrainian singer is willing to sign the controversial contract, here’s Maruv’s ‘Siren Song’, which you now won’t be hearing at Eurovision in May.

READ MORE ABOUT:

 

Wednesday 27 February 2019, 12:34 | By

CMU Insights talking music copyright, at home and away!

Business News CMU Insights Update Education & Events

Cogs

This week CMU Insights has been in Tanzania running a three-day masterclass for the local music community on the global music rights business. We’ve been providing a beginner’s guide to music copyright, explaining how copyright systems differ around the world, and running through how the music industry goes about turning its intellectual property rights into revenue. Today we’ll be discussing practical steps that can solidify and evolve a music rights system and market in this part of the world.

But don’t forget, we provide music rights training much closer to home as well. In addition to the CMU seminars and masterclasses that take place throughout the year, we can run sessions specifically for your team at your offices. Our in-house training courses are a great way to bring your team together and bring them up to date on all the latest developments in music copyright. Or, for that matter, streaming, distribution, management, marketing, social media or PR.

Click here for more information on how to book a course.

READ MORE ABOUT:

 

Wednesday 27 February 2019, 12:33 | By

Morrissey announces May release for new covers album

Artist News Releases

Morrissey

Morrissey has announced the release date for his new covers album, ‘California Son’. He’s also released the first single, his version of Roy Orbison’s ‘It’s Over’.

First announced back in December, the album features twelve songs from the 60s and 70s originally by artists including Joni Mitchell, Bob Dylan, Dionne Warwick and Carly Simon. It also features an array of collaborators, including Ed Droste of Grizzly Bear, Broken Social Scene’s Ariel Engle and Green Day frontman Billie Joe Armstrong.

Recognising it’s not a great idea to ask Morrissey to open his mouth these days, the customary quotes that accompany news of the release come from others. First up, it’s son of Roy Orbison, Roy Orbison Jr, who gives Moz’s version of ‘It’s Over’ the Orbison family seal of approval.

“We love Morrissey”, says Orbison Jr. “Morrissey’s hair, and melancholy and poetic lyrics always reminded me of my dad. His version of ‘It’s Over’ is great”.

So there’s a thing. The next comment comes from American singer LP, who also appears on the cover of ‘It’s Over’, and who says: “When I would think of Morrisey and his music it was always with great respect and appreciation as I’m sure is the case with many of his fans”.

“However”, she adds ominously, “I soon realised when I hung out with him and he played me all the songs he was putting on this record that behind this was the heart of an audiophile and a deep fan of his own musical heroes. He is well versed in so many genres and knows deep cuts of artists I thought I knew so much about. It is inspiring to see the enthusiasm and intellect he brings to people through his own musical journey”.

Oh, that all turned out fine then. She doesn’t explain how Morrissey got so many cool artists to work with him at a time when his own public statements have proven so controversial. Maybe that’s something for single two. ‘California Son’ is out on 24 May. Here’s a full tracklist:

1. Morning Starship (Jobriath) with Ed Droste of Grizzly Bear
2. Don’t Interrupt The Sorrow (Joni Mitchell) with Ariel Engle of Broken Social Scene
3. Only A Pawn In Their Game (Bob Dylan) with Petra Haden
4. Suffer The Little Children (Buffy St Marie)
5. Days Of Decision (Phil Ochs) with Sameer Gadhia of Young The Giant
6. It’s Over (Roy Orbison) with LP
7. Wedding Bell Blues (The Fifth Dimension) with Billie Joe Armstrong of Green Day & Lydia Night of The Regrettes
8. Loneliness Remembers What Happiness Forgets (Dionne Warwick)
9. Lady Willpower (Gary Puckett)
10. When You Close Your Eyes (Carly Simon) with Petra Haden
11. Lenny’s Tune (Tim Hardin)
12. Some Say I Got Devil (Melanie)

READ MORE ABOUT: | | | | | |

 

Wednesday 27 February 2019, 12:31 | By

Dave announces UK and Ireland tour

Artist News Gigs & Festivals Releases

Dave

Dave has announced UK and Ireland tour dates, set to run through April and finishing with a two night run at Brixton Academy in May.

The rapper is set to release his debut album, ‘Psychodrama’, on 8 Mar, and has just put out new single ‘Black’. Annie Mac recently commented on negative reactions to the track, a reflection on black identity, after she had played it on her Radio 1 show.

“People are scared of the word black, they seem reluctant to have conversations around it”, she tells the NME. “People are feeling on the defensive and act like it’s not necessary to talk about it anymore. I find that really depressing and an absolute justification for that song. It’s so important that the song exists and it’s only when you see the texts and tweets coming in that you realise how important it is and how much work needs to be done in this country for racial equality”.

Watch the video for ‘Black’ here:

Here are the tour dates:

9 Apr: Dublin, Olympia Theatre
12 Apr: Glasgow, Academy
13 Apr: Newcastle, Academy
15 Apr: Nottingham, Rock City
16 Apr: Leeds, Academy
17 Apr: Liverpool, Academy
18 Apr: Manchester, Academy
20 Apr: Sheffield, Academy
22 Apr: Birmingham, Academy
23 Apr: Leicester, Academy
25 Apr: Norwich, The Nick Rayns LCR
26 Apr: Bristol, Academy
27 Apr: Bournemouth, Academy
2 May: London, Brixton Academy
3 May: London, Brixton Academy

READ MORE ABOUT:

 

Wednesday 27 February 2019, 12:28 | By

One Liners: R Kelly, World Independent Network, BMG Production Music, more

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

R Kelly

Other notable announcements and developments today…

• Following reports that several female fans of R Kelly had offered to pay his bail, the Chicago Tribune has confirmed that it was a 47 year old woman listed as “a friend” on court documents who paid the $100,000 that saw him freed from custody – pending trial – earlier this week.

• Charlie Phillips has been promoted to Chief Operating Officer at the World Independent Network, from Director Of Legal And Business Affairs. Phillips will lead the globally focused indie label trade body, which does not plan to recruit a new CEO, following the departure of Alison Wenham in December.

• BMG Production Music has promoted UK executives Alex Marchant, Ciaran McNeaney and Sam Delves to new international roles. Co-founders of Deep East Music, which BMGPM acquired last year, Alex Marchant and Ciaran McNeaney will become Director Of Global Marketing and Director Of Global Production respectively. Delves, meanwhile, is now Global Marketing Manager. “Alex and Ciaran”, says the company’s SVP Global Sales, Marketing & Repertoire John Clifford. “Sam”, he adds.

• J Cole has released the video for new single ‘Middle Child’.

• White Denim have released new single ‘Reversed Mirror’. Their new album, ‘Side Effects’, is out on 29 Mar.

• Bad Religion have announced that they will release new album, ‘Age Of Unreason’, on 3 May. From it, this is ‘Chaos From Within’.

• Ex Hex have released new single ‘Rainbow Shiner’. The track is taken from their upcoming album, ‘It’s Real’, which is out on 22 Mar.

• Hockeysmith has released a video for ‘Dare You’ from her recent EP ‘Tears At My Age’.

• A whole 120 more acts have been added to the line-up of this year’s magnificent Great Escape festival, including Anna Calvi, Little Simz, Wovoka Gentle, Arlo Parks, Confidence Man, Oh Land, Upsahl, Kiran Leonard, Leila Moss and Pigs Pigs Pigs Pigs Pigs Pigs Pigs. See all of the latest additions here.

• The Body have announced various UK shows in July, kicking off with an appearance at The Dome in London on 12 Jul, which will be a collaborative set with Full Of Hell.

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

READ MORE ABOUT: | | | | | | | | | | | | | |

 

Wednesday 27 February 2019, 12:24 | By

Drake named Global Recording Artist Of 2018 by the IFPI

And Finally Artist News Awards

Drake

Drake has been named Global Recording Artist Of 2018 by global record industry trade group IFPI. Because that’s what Drake needs, yet more people telling him he’s great when he’s really not. Although, this prize doesn’t really do that. He just wins it by default because he sold more records (and got more streams, probably more of that actually) than everyone else in the world last year, like anyone could do.

He previously won the prize in 2016, making him the first double winner in the award’s seven year history. Other previous winners include One Direction, Taylor Swift, Adele and Ed Sheeran.

“Drake has had an incredible, record-breaking year, one that is more than worthy of the title of Global Recording Artist Of The Year”, insists IFPI CEO Frances Moore. “That Drake has won this award for the second time is testament to his continued global appeal and his ability to engage and connect with fans”.

She goes on: “This year’s top ten artists reflect the global appeal of music. From modern-day superstars like Drake, Ed Sheeran and Ariana Grande, to the rise of genres such as K-pop, to legacy acts like Queen, fans are exploring and enjoying music of all types and from all corners of the world”.

Yes, these names really do represent the full range of human musical creativity from across the entire globe. Here is the full top ten – why not put them in a playlist this afternoon, and then tell people you’ve heard all music (and Imagine Dragons):

1. Drake
2. BTS
3. Ed Sheeran
4. Post Malone
5. Eminem
6. Queen
7. Imagine Dragons
8. Ariana Grande
9. Lady Gaga
10. Bruno Mars

READ MORE ABOUT: |

 

Tuesday 26 February 2019, 13:07 | By

Warner seeks injunction against Spotify in India

Business News Digital Labels & Publishers Legal Top Stories

Spotify

Warner Music has celebrated Spotify’s long-awaited but now seemingly imminent launch in India by taking a trip to Mumbai and requesting an injunction against the streaming firm. Which is a wonderful way to celebrate.

The court order relates to a dispute over the songs catalogue controlled by the Warner/Chappell music publishing company and what options may or may not be open to the streaming firm for licensing said catalogue.

Getting licensing deals in place for an Indian launch has proven quite a task for Spotify, with at least some execs at the majors expressing concern about the price point of streaming in some key emerging markets, the increased importance of which is dragging down the average revenue per user on a global basis.

On top of that, the majors themselves are not so dominant in India, meaning that getting Spotify live there is arguably more important for the streaming firm than for its global licensing partners. That said, deals have been done with key local catalogue owners – most notably T-Series – and Sony and Universal are reportedly now on board too. Which leaves Warner as the main hold-out.

Concurrent to all this, Spotify’s global deals with the big rights owners are coming up for renewal. That concern about average revenue per user is very much part of those renewal conversations as well, as is Spotify’s long-term objective of reducing its total royalty obligations to the music industry. And, according to Spotify, those other deal negotiations are relevant to the legal spat in India.

Commenting on Warner’s court filing in Mumbai, a Spotify spokesperson told reporters: “Warner Music Group instructed Warner/Chappell Music to file for an injunction in an attempt to leverage WCM’s local Indian publishing rights, to extract concessions in WMG’s global renewal negotiations for musical recordings”.

“WMG revoked a previously agreed upon publishing license for reasons wholly unrelated to Spotify’s launch in India”, they went on. “All other major labels and publishers have already agreed on economics and to license their music, and Spotify has also entered into a licence with the local collecting society, while WCM remains the lone hold-out needed for a Spotify launch in India”.

The licensing of song rights in the streaming space is considerably more complex than recording rights. In many cases the collecting societies license the song rights, either directly to the services, or via their reciprocal agreements with other societies around the world. But the major publishers – and an increasing number of indies too – license their Anglo-American repertoires directly, albeit via slightly complicated joint ventures with the societies.

On top of that you have the problem that streaming services like Spotify don’t really know what songs they are streaming. Labels and distributors provide recordings with songs contained within them. A service can assume the label or distributor controls the recording rights, but doesn’t know who controls the song rights or even what specific song is being used. And because songs are often co-written they are often co-owned by multiple publishers, meaning a single song requires multiple licensing deals.

This all means that excluding one publisher’s catalogue from your service – when you cannot agree a deal – is tricky. Doing so would affect recordings released by other labels and songs co-owned by other publishers. And that’s assuming you could work out what recordings now contained unlicensed songs. The easiest solution, therefore, is to try to ensure that you have the vast majority of songs licensed, via a combination of publisher and collecting society deals.

Warner specifically refusing to license its songs catalogue in India may therefore be a pretty good negotiating tactic. And that’s exactly the move Spotify accuses Warner of making. In a bid to counter it, the streaming firm has seemingly been looking for other options. In some countries in some scenarios there are compulsory or statutory licenses available. This is where copyright law forces rights owners to license, often at a rate set by a court, tribunal or copyright board.

Spotify is now trying to do just that in India, where statutory licences do exist for the mechanical copying and broadcast of songs. The streaming firm’s statement continued: “WMG’s abusive behaviour would harm many non-Warner artists, labels and publishers, and prevent Spotify from competing in the market, leaving us no choice but to file for a statutory licence. This statutory licence, which allows for application to internet-based services, prevents WMG’s abusive practices, while ensuring all rights holders are compensated fairly”.

It then clarified: “Under the statutory license, Spotify will pay WCM and their rights holders rates that are in-line with the rates Spotify agreed to pay the leading Indian music entities. We will continue to assess our options at this stage”.

Warner argue that no such statutory licence is actually available for on-demand streaming services in India. Hence the court filing, with the major seeking court confirmation that statutory licensing is not an option for a service like Spotify.

Commenting on the legal dispute, a Warner spokesperson said: “After months of negotiations, Spotify abruptly changed course and has falsely asserted a statutory licence for our songwriters’ music publishing rights in India. We had no choice but to ask an Indian court for an injunction to prevent this. It’s our goal to hammer out a deal that works for everyone. We hope this is just a speed bump in the expansion of our long and successful global partnership”.

Speed bumps, of course, are annoying but often necessary. For Spotify, this dispute will definitely be annoying. Warner might argue that it’s also necessary, otherwise Spotify might set a precedent that an alternative licensing option is available in India that other digital operators would also jump on.

Either way, even if this particular spat can be dealt with quickly and Spotify’s India launch can finally go ahead, these various wheelings and dealings confirm that the ongoing global deal renegotiations – between the world’s biggest premium streaming service and the major rights owners which are increasingly reliant on said service, and really resent that fact – will be, well, lots of fun for everyone. Good times.

READ MORE ABOUT: | |

 

Tuesday 26 February 2019, 13:06 | By

R Kelly pleads not guilty to sexual assault charges, secures release on bail

Artist News Legal

R Kelly

R Kelly pleaded not guilty yesterday to all ten charges of aggravated sexual assault that have been made against him. He was later released from custody, after three days in jail, having paid the $100,000 necessary to secure his release on bail.

The musician handed himself in to police on Friday after a warrant was issued for his arrest. He is accused of sexually assaulting four women between 1998 and 2010, three of whom were children at the times of the alleged crimes.

As a condition of being granted bail, which was set at $1 million, Kelly had to hand over 10% of that amount upfront, as well as agreeing to surrender his passport and have no contact with anyone under the age of eighteen.

Meanwhile, attorneys working with Kelly’s accusers have suggested that further charges may be brought against him. Gloria Allred said in a press conference yesterday that she is representing six women who have made allegations against Kelly. Michael Avenatti also told CNN that he had uncovered further evidence alleged to show Kelly abusing an underage girl.

Earlier this month, Avenatti announced that he had turned over a video to Cook County prosecutors, which he claimed shows Kelly having sex with a fourteen year old girl. He now says that his investigations have uncovered two further videos, one of which, he says, “leaves no question as to Mr Kelly’s guilt”.

“Over the weekend, we have encountered a number of additional witnesses who we have interviewed, who we are in the process of preparing to meet with prosecutors”, Avenatti said. “Each of these witnesses describe a decades long system of abuse by Mr Kelly of underage girls”.

Kelly’s attorney, Steve Greenberg, continues to vehemently defend his client, telling CNN that any claims by any parties to have ‘smoking gun’ evidence are “ridiculously premature”. Continuing the bullish line he has taken ever since abuse claims against Kelly gained new public focus, he said: “I believe all the women are lying”.

Now out on bail, Kelly is next due back in court for a hearing on the assault charges on 22 Mar. In a separate case, he has been ordered to pay $161,663 in unpaid child support to his ex-wife by 6 Mar in order to avoid being in contempt of court.

READ MORE ABOUT:

 

Tuesday 26 February 2019, 13:01 | By

Ticketmaster buys Australian ticketing indie Moshtix

Business News Deals Live Business

Ticketmaster

Live Nation’s Ticketmaster in Australia has bought Moshtix, an Australian ticketing firm that is particularly popular among grassroots venues and promoters.

Ticketmaster says that the acquisition will “provide Australian and New Zealand venues and promoters a unique offering which combines Moshtix’s experience and innovative technology for general admission, self-service and white label solutions with Ticketmaster’s unrivalled services, marketing, distribution and reach”.

Moshtix will continue to operate as a stand-alone business led by its MD Harley Evans, who says: “Ticketmaster is undoubtedly the world leader in ticketing and is the ideal partner for us to take Moshtix to the next level. We are confident that together we can deliver an incredible combination of industry-leading ticketing technology and locally tailored services and marketing that will better serve the independent and general admission market”.

Maria O’Connor, MD of Ticketmaster Australia and New Zealand, adds: “Moshtix has a rich fifteen year history and during this time [its team] have developed a reputation for being extremely hard-working and passionate about what they do. Their mission to ‘make live easy’ by delivering a seamless connection between partner, fan and the artist is shared with us. We look forward to working with them to help fans discover, share and experience the live entertainment they love”.

READ MORE ABOUT: | |

 

Tuesday 26 February 2019, 12:59 | By

Help Musicians surveys Welsh music community to inform activity in the country

Business News Industry People

Help Musicians UK

Music charity Help Musicians UK has launched a six month research project that will seek to identify the needs of music makers and the music industry in Wales.

The project, HMUK says, is “seeking past and present members of the Welsh music industry to take an active role in shaping the charity’s output in the country”. Things kick off with a survey which will be followed by a series of interviews and roundtable discussions. Key findings will then be presented at the Focus Wales conference in May.

Announcing the project, HMUK’s Director Of Programmes Claire Gevaux said: “Our nations and regions strategic approach considers not just how we can offer a lifetime of support for musicians when they need it most, but also how we can develop networks of volunteers, fundraisers and targeted and relevant communications in a nation or region. Wales has a rich musical heritage and we’re keen to understand how we can be most effective in the country for the benefit of the Welsh music sector”.

She added: “We’re also delighted that Becci Scotcher has come on board to lead this research as she knows the charity very well and has had significant engagement in the Welsh music sector”.

Anyone making music or working in the industry in Wales is invited to fill out the initial survey here.

READ MORE ABOUT:

 

Tuesday 26 February 2019, 12:57 | By

Approved: Erland Cooper

CMU Approved

Erland Cooper

Erland Cooper released his debut album ‘Solan Goose’ last year. The first part of a planned trilogy of albums, it took inspiration from the birds of the Orkney Islands, Cooper’s childhood home. He’s now announced part two, ‘Sule Skerry’, on which he will turn his attention to the sea.

“It’s a record about the sea”, Cooper explains, “our relationship with the outside world, forces outside of our control, but it’s also about creating a nest within that, nurturing and protecting our own sea havens, those sheltered bays, those safe places. Always returning back in some form, as we step in and out daily”.

“I’m always looking at the narrative, the story or concepts to thread the music around”, he goes on. “It acts like a nautical map, something to refer back to when you get lost at sea. I like to take almost an etching of the landscape away with me in my books, boxes, digital and analogue machines. When you listen to something out of context, that’s when you learn exactly what to keep and what to discard”.

The first track from the album, ‘Haar’, is named after the sea mist that can stretch for miles. The opening track on the LP, it sets a tone with violin, viola, cello and the voice of soprano Lottie Greenhow building around a simple piano motif. Field recordings of thunder off the coast of Orkney bring the piece to its soft crescendo.

‘Sule Skerry’ is set for release on 17 May. You can catch Cooper live at The Trades Club in Hebden Bridge on 30 Mar, the Barbican in London on 16 May, and Edinburgh’s Queen’s Hall on 24 May.

Watch the video for ‘Haar’ here:

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

READ MORE ABOUT:

 

Tuesday 26 February 2019, 12:55 | By

Talk Talk frontman Mark Hollis dies

Artist News

Mark Hollis

Former Talk Talk frontman Mark Hollis has died, aged 64, according to reports. The musician retired from the music industry 20 years ago and has remained out of the public eye ever since.

News of Hollis’s death came from writer Anthony Costello, who is related to him by marriage. “RIP Mark Hollis”, he wrote on Twitter. “Cousin-in-law. Wonderful husband and father. Fascinating and principled man. Retired from the music business 20 years ago but an indefinable musical icon”.

Tim Pope, who directed many of Talk Talk’s music videos, later tweeted: “Goodbye to Mark Hollis of Talk Talk. Condolences to his lovely family. We had many, many laughs together”.

Paul Webb, the ex-Talk Talk bassist who now records as Rustin Man, also wrote on Facebook: “I am very shocked and saddened to hear the news of the passing of Mark Hollis. Musically he was a genius and it was an honour and a privilege to have been in a band with him. I have not seen Mark for many years, but like many musicians of our generation I have been profoundly influenced by his trailblazing musical ideas. He knew how to create a depth of feeling with sound and space like no other. He was one of the greats, if not the greatest”.

Hollis broke up Talk Talk in 1991 in order to spend more time with his family. He returned with his only solo album, ‘Mark Hollis’, in 1998, before retiring from the music industry entirely. No cause of death has yet been confirmed.

READ MORE ABOUT: | | | |

 

Tuesday 26 February 2019, 12:49 | By

Ariana Grande selling new merch to speed fans through security at US shows, announced as Manchester Pride headliner

Artist News Brands & Merch Gigs & Festivals

Ariana Grande

Ariana Grande has asked fans planning to attend her upcoming US tour dates to buy clear plastic branded bags which will adhere to security restrictions at the shows.

In a message on Instagram, Grande told fans: “We’re sending out emails soon encouraging you to order a clear bag to bring your things into the venues, as security is going to be very precise and smooth but for sure super strict”.

“They’re super cheap and simple”, she added of the branded bags, “but having them ahead of time will for sure help things go as smooth as possible”.

It won’t be mandatory to have a branded bag. However, according to information on the Ticketmaster US website, each attendee will only be allowed to take one entirely clear plastic bag into the venue with them. Bags must not be larger than twelve inches by six inches by twelve inches. Resealable freezer bags are also acceptable, up to a one gallon size.

Of course, buying the official branded bag will mean fans don’t have to worry about sizes, and will also have a memento of that time going to a concert was like taking toothpaste on an aeroplane.

So far these restrictions only seem to apply for the US shows, which are due to begin on 18 Mar. The European leg of the tour is set to being in London on 17 Aug.

Grande has also just added an extra UK date to the tour, announcing that she will headline Manchester Pride on 25 Aug. The musician had previously hinted that she had “a special show” planned in Manchester, but had not revealed any details.

In a statement, Manchester Pride CEO Mark Fletcher says: “This year marks a big change for the festival as it continues to evolve. Previously we had one event running over the weekend and this year we have two, each with a distinct offering. At Manchester Pride Live we’re truly honoured to be welcoming Ariana back to the city to help us celebrate LGBT+ life”.

That other event, taking place on 24 Aug, will be headlined by Years & Years.

Grande’s show will be her first performance in Manchester since 2017’s Manchester One Love show, which – of course – was staged two weeks after the bomb attack at the end of her concert at Manchester Arena.

READ MORE ABOUT:

 

Tuesday 26 February 2019, 12:48 | By

One Liners: Emma Bunton, Albert Hammond Jr, Foals, more

Artist News One Liners Releases

Emma Bunton

Other notable announcements and developments today…

• Emma Bunton has announced that she will release a new solo album, ‘My Happy Place’, on 12 Apr. Her first new music for more than a decade, the first single from the album, ‘Baby Please Don’t Stop’, will be out tomorrow. The album will also feature a cover of the Spice Girls’ ‘Two Become One’, recorded as a duet with Robbie Williams.

• Albert Hammond Jr has released new track ‘Fast Times’ ahead of upcoming US tour dates. “Explore the chaos”, he says. “Be present without judgment and remind yourself you’ll forget everything you’ve learned today, tomorrow”. Make a note of that so you remember.

• Foals have released new track ‘Sunday’, from their upcoming album, ‘Everything Not Saved Will Be Lost Part 1’.

• Pete Doherty And The Puta Madres have released the video for new single ‘Who’s Been Having You Over’.

• Kero Kero Bonito have announced that they will release ‘Swimming’ from their ‘Time N Place’ album as a seven-inch single on 17 May. Here’s the b-side ‘The Open Road’.

• Lafawndah has released new single ‘Substancia’.

• Suzi Wu has released ‘Error 404’, the title track from her upcoming new EP.

• Deathcrush have released new single ‘Dumb’, ahead of upcoming tour dates in their native Norway.

• Bromide have released new single ‘Magic Coins’.

• GJan has released new single ‘Numbers’.

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

READ MORE ABOUT: | | | | | | | |

 

Tuesday 26 February 2019, 12:37 | By

Working with repetitious playlists a bit like actual torture

And Finally Business News

Coffee

Music’s great, isn’t it? I’m all in favour. And it provides such a great boost for businesses that it’s the law that anyone who wants to play music to their customers has to pay for the privilege. So, brilliant all round. Unless you’re the employee of a shop or café with a repetitive playlist. Then, argues one writer, it is similar to actual torture.

“[It’s] the same system that’s used to flood people out of the Branch Davidian in Waco or was used on terror suspects in Guantanamo”, writer and former coffee shop employee Adam Johnson tells CBC’s ‘The Current’. “They use the repetition of music. I’m not suggesting that working at Applebee’s is the same as being at Guantanamo, but the principle’s the same”.

This follows recent complaints by Starbucks staff in the US about being forced to listen to the ‘Hamilton’ soundtrack on repeat. It’s a delight to hear songs from the hit musical as you buy a crappy cup of coffee from the chain. Less so if you’re serving that crappy coffee on an eight hour shift, it turns out.

Neuroscientist Jessica Grahn explains that music “can be a very effective way of the external environment impinging, without our control, on our sensory processing. Because we can’t close our ears, it’s very effective if somebody else has control of our sonic environment. We can do nothing about that, and that can be pretty debilitating”.

Johnson argues that the matter should be thought of as an environmental health concern, and therefore checked and considered in the same way as the cleanliness of a commercial kitchen. Meanwhile, Grahn says issues can be overcome without going that far by allowing staff to have input on the music they listen to while working.

Customers can, of course, also become enraged by the music they hear while shopping, sipping crappy coffee or eating some lovely food. Last year, composer Ryuichi Sakamoto revealed that he’d become so annoyed by the music played in his favourite restaurant in New York that he’d created a new playlist for it.

“I cannot bear it”, he told the New York Times of situations where terrible music is being played in a public space, but “normally I just leave”. However, “this restaurant is really something I like and I respect their chef”, so he vowed to come up with a solution.

And it seems to have worked for him, so maybe letting Starbucks staff have a go at curating the music is a good plan. Maybe they’ll make better coffee as a result. Unlikely, I know, but probably worth a try. I’m sure it’s not an entirely lost cause like, say, Costa. You might as well just play the Crazy Frog on a loop there and be done with it.

READ MORE ABOUT:

 

Monday 25 February 2019, 13:47 | By

R Kelly charged with ten counts of sexual assault, fails to raise bail money

Artist News Legal Top Stories

R Kelly

R Kelly was charged on Friday with ten counts of aggravated sexual assault against four women. The charges were formally made at a court hearing in Chicago. He is currently being held pending a bail payment.

Bail has been set at $1 million. He needs to hand over 10% of that to secure release from police custody, but his widely reported financial difficulties of recent years mean he hasn’t as yet been able to make payment. Meanwhile music industry business partners which in the past may have covered the bill are likely nervous of doing so given the ongoing controversy around the musician’s alleged conduct over many years.

The musician turned himself in to police on Friday after a warrant was issued for his arrest. He is accused of sexually assaulting four women between 1998 and 2010, three of whom were underage at the time of the alleged crimes. One of these women says that she met Kelly in 2008 while he was previously on trial for sexually abusing a fourteen year old girl.

Regarding Kelly’s ability to pay the $100,000 bail payment, it had been reported that he would first have to clear outstanding child support debts before using any funds for the bail money, although CNN has said that this is not actually the case. Kelly currently owes his former wife over $169,000 and has been ordered to pay $161,663 by 6 Mar in order to avoid being in contempt of court. He also owes more than $166,000 in unpaid rent on his Chicago studio, the owners of which have been attempting to evict him.

After the bail hearing on Saturday, Kelly’s attorney Steve Greenberg told reporters that he was “very happy” with the $1 million figure, which he said was “fair and reasonable”. However, he added that Kelly “really doesn’t have any money at this point”, blaming “mismanagement”, “bad deals” and “hangers-on” for his client being broke.

Greenberg added that Kelly expected to be able to get the money together, although he has so far not managed to do so. Though he might not as yet have to, Chicago-based reporter Will Lee said on Twitter that he’d been told that numerous female fans of Kelly’s have called the court offering to pay the $100,000.

Allegations of sexual abuse against Kelly have persisted for many years now, of course, and came under more scrutiny recently, firstly following reports that he is operating a “sex cult”, and then after the screening in the US of a new documentary about the abuse claims.

Of the many civil actions launched against him over the years alleging abuse, Kelly has settled the majority out of court. Though on that one previous occasion criminal charges were brought against him he was acquitted after his legal team argued that the identity of the girl in a video at the heart of the case could not be proven conclusively.

Following the screening of the ‘Surviving R Kelly’ documentary by the Lifetime network, Cook County State Attorney Kim Foxx called for alleged victims to come forward. It then emerged that new video evidence had been unearthed that allegedly incriminated Kelly, and one of the four women he is now charged with assaulting appears in that video.

Kelly has always denied all the accusations made against him and continues to do so. As do his legal team on his behalf.

Speaking to Rolling Stone, one of the singer’s lawyers, Brian Nix, said that his client “is disappointed by the unsubstantiated allegations of behaviour that portrays him as a monster by people with a pecuniary motive. He believes that the scripted documentary by Lifetime has created collusion between and amongst female friends who have been converted to victims”.

He continued: “The dissemination of information through media and social outlets have created an environment of possible collusion amongst female acquaintances who have been mistakenly coached to become victims”.

If Kelly can come up with the money to secure his release on bail, he will also have to agree to surrender his passport and avoid coming into contact with anyone under the age of eighteen. If convicted, he is facing a sentence of up to 70 years in prison.

READ MORE ABOUT:

 

Monday 25 February 2019, 13:45 | By

Closed HMV stores re-opening, as Sunrise does new deals on rent

Business News Retail

HMV

Six of the HMV stores recently closed as the retailer was bought out of administration have now been re-opened.

It was announced earlier this month that Canadian music retailer Sunrise Records had agreed a deal to take on the UK chain, which was put into administration by previous owner Hilco shortly after Christmas. That deal initially meant that 100 HMV and Fopp stores would be saved, with 27 closing down due to high rents.

However, of those closed stores, five HMV shops – in Glasgow, Bath, Sheffield, Reading and the Bluewater shopping centre in Dartford – plus the Glasgow branch of Fopp have now opened their doors to customers again.

The shops were seemingly re-opened after Sunrise managed to strike new deals with landlords on rent for the premises. It remains to be seen if further such deals can be done in order to reinstate more shops – particularly the flagship store on London’s Oxford Street.

Of course, all of the remaining HMV and Fopp shops saved by Sunrise are currently still operating as they were when Hilco put them into administration at the end of last year. The big plan to reenergise the business and get them bringing in more money is yet to come.

Recently, Sunrise boss Doug Putman told The Canadian Press that his company was still trying to “get a handle on the market and what is happening here” in the UK. Although he said that there was already a plan to “add a lot of vinyl to the mix”.

READ MORE ABOUT:

 

Monday 25 February 2019, 13:43 | By

Outstanding Attitude shortlists announced

Awards Business News Live Business

Attitude Is Everything

The shortlists have been announced for the recently expanded Outstanding Attitude Awards, which are being presented by music charity Attitude Is Everything to live music businesses which have excelled in making their events accessible to disabled audiences. The overall winners will be announced at an event in London on 12 Mar.

Commenting on the shortlists, Attitude Is Everything boss Suzanne Bull said: “There can’t be many award shows that cover nominations from live music’s biggest and most recognised global brands next to those from outdoor toilet specialists and tiny local venues. That’s what makes the Outstanding Attitude Awards so special”.

“It highlights how, regardless of size, scale and budget, everyone has the capacity to tear down barriers and make music more inclusive”, she added. “The only limit is our imagination, and that’s what we’ll be celebrating on 12 Mar”.

The shortlists are as follows…

Access Starts Online Award – Outdoor Event
British Summer Time Hyde Park
Deer Shed Festival
Festival Republic festivals
Greenbelt Festival

Access Starts Online Award – Venue Over 500 Capacity
Motorpoint Arena Cardiff
Southbank Centre
The SSE Arena Belfast

Access Starts Online Award – Venue Under 500 Capacity
Band On The Wall
Brudenell Social Club
Komedia Brighton
West End Centre Aldershot

Accessible Infrastructure Award
Edinburgh Festival Fringe Society – Virgin Money Street Events
GigLoo Ltd
Vehicles for Change

Big Ambition Award
British Summer Time Hyde Park
Download Festival
Edinburgh Festival Fringe Society

The Nigel McCune DIY Access Award
Made With Music Mini-Gigs
Nozstock: The Hidden Valley Festival
The Boileroom
The Rock House

The Customer Service Award
Band On The Wall
British Summer Time Hyde Park
The SSE Arena, Belfast
Victorious Festival

The Tech Innovation Award
SoundSense
The Lowry
The Ticket Factory and Nimbus

Ticketing Without Barriers Award – Plarform
Edinburgh Festival Fringe Society
Nimbus
Ticketmaster UK

Ticketing Without Barriers Award – Venue / Event
British Summer Time Hyde Park
Festival Republic festivals
Roundhouse
Victorious Festival

READ MORE ABOUT: