15 JUL 2013

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Blimey, it's hot. Let's all have a glass of water. And maybe an ice cream. OK, two ice creams. It seems like the only way we have any chance of getting through this whole situation. While you try to keep cool this week, we've got a whole load of features lined up for you. Not sure they'll help with the temperature much, but you will be able to read interviews with Avicii and Live Nation's Paul Latham and an Editor's Letter.
Cited by Grimes as her main inspiration in pop, David Carriere plays by day in TOPS, and at night as his solo alias Paula. Carriere released 'Relaxed Fit', his first and, so far, only LP under that moniker, last year via Arbutus Records. An underrated advanced-class in the various ways it's possible to make smart, addictive bizarro-pop look easy, 'Relaxed Fit' is a cartoonish ball-pit of weird synth wizardry with a lot to give more>>

- Godrich and Yorke reignite Spotify debate
- As Spotify debate goes atomic: where are we at?
- Doobie Brother settles in digital royalty squabble
- Morrissey issues statement on food poisoning
- Manics "horrified" after song used in EDL video
- House Of Lords calls for music tourism strategy
- Fuck off, Justin Timberlake
- Lady's Gaga announces new album
- Releasing Jay-Z's Manga Carta Holy Grail on vinyl a "good idea", says Third Man man
- Sky Ferriera's debut album pushed back again
- Durex denies involvement with Daft Punk condoms
- Twenty First Artists promotes Fisher
- Universal developing deleted vinyl crowdfunding site
- AT&T acquires Muve Music operator
- Fergie changing name (to Fergie)
- Amanda Palmer responds to Daily Mail in song
We’re looking for a driven music publicist with a minimum of two years print and online PR experience to join our team in Cambridge on a temporary basis. Candidates will be results driven, able to work to deadlines, and be enthusiastic about a wide range of genres. A network of contacts across print and online media is essential. Radio contacts a plus.

For more information including a full job description and how to apply click here.
Rood Media is predominantly a boutique music PR agency, handling specialist radio, online and print on a global scale for some of electronic music's most respected and popular artists and labels. Recent projects include Disclosure, Cyril Hahn, Bromance Records, Felix Da Housecat and Yuksek/Partyfine. We are looking for a Freelance PR who has a keen interest in all that we do.

For more information including a full job description and how to apply click here.
Ninja Tune is looking for an experienced reliable and inspiring Campaign Manager (aka Product Manager). The job involves successfully overseeing record releases from beginning to end of campaigns working closely with the Ninja Tune A&R, production, marketing, digital and international teams.

For more information including a full job description and how to apply click here.
Management Assistant required for London-based, established artist management company. Suitable candidates must have a minimum of three years management or related experience. Knowledge of release campaigns, promotion and touring required. Candidates must be super organised, capable of multi-tasking and possess a good knowledge of the music industry. Role will include providing support to artist managers, co-ordinating day to day activities for artists including general administrative duties and personal assistant duties.

For more information including a full job description and how to apply click here.
ROYAL ALBERT HALL - EVENTS ASSISTANT (9 month fixed term contract)
The Royal Albert Hall has an exciting opportunity for an organised and motivated Events Assistant to support in the delivery of its diverse range of own- and co-promoted events. The Events Assistant will undertake all duties in respect of the coordination and management of these events, acting as the first point of contact to artists and partners in managing all administration processes. The ideal candidate will have outstanding customer service experience, excellent relationship building and communication skills.

For more information including a full job description and how to apply click here.
Partisan PR and Konkz are seeking to appoint a Social Media Manager to work across key client accounts. The candidate must have experience in devising and implementing digital campaigns for a broad range of artists. Experience of working at a record company or digital agency is preferred.

For more information including a full job description and how to apply click here.
WANTED: Experienced Communications Officer! We are seeking a self-motivated, proactive individual to take a key role in further developing our PR and communication strategies. The successful candidate will have strong artist and industry knowledge, first class experience in social media and excellent relevant PR experience.

For more information including a full job description and how to apply click here.
MAMA & Company are looking for dynamic, experienced General Business Managers, Assistant General Managers & Bar Managers with a proven track record within a live music operation. This is a fantastic opportunity to work and grow with an exciting company at some of London's most established venues. Based in London, closing date for applications is 6pm on Wednesday 24 Jul 2013.

For more information including a full job description and how to apply click here.
Warp Records are looking for an experienced royalties accountant who will be responsible for managing all aspects of royalty accounting for the record company. This will include preparation of bi-annual accounting to artists, mechanical royalty accounting, internal reporting and analysis. Candidates will have experience in a similar role.

For more information including a full job description and how to apply click here.
The 100 Club and Cornerstone Agency are looking to recruit an experienced candidate to work with The 100 Club's owner, help fill any gaps in the schedule and work to improve the Club's marketing and promotion (including social media) to raise awareness of the Club's activity. This is great role for someone who is well connected in music and has a great relationship with agents, promoters, record labels and managers.

For more information including a full job description and how to apply click here.
£600 per calendar month

Come and share our lovely office in Camden NW1, which is available from the beginning of July 2013

Situated in a 620 sq ft former photographic studio, up to four of you will be sharing with us - a music PR company. One third of the office is available in a friendly, spacious, airy, media environment. The space offered is partially separated from the main room and currently acts as our meeting / ping pong room! Individual desk spaces may also be considered.

The office is tastefully designed, has ample storage and is based in Camden close to all the amenities. The space would suit music professionals, designers or architects or a small company involved in the creative arts.

The studio has excellent security and is situated in a private yard off the street. It is 5 mins walk from Chalk Farm tube and Kentish Town West Overground stations. It is equally close to Camden Lock and Market with its numerous shops, restaurants, bars, cafes and a short journey on bus or tube will take you into the west end quickly.

There's a kitchenette, with sink for tea/coffee, microwave and fridge. The studio is situated on the lower ground floor of the building with its own locked door, with 24 hours access.

The rental cost is for the space and includes all utilities but not telephone. Wireless high speed broadband (reasonable use) could also be shared.

A one month deposit would be required with a three-month minimum agreement, with one month written notice and rent to be paid monthly in advance by standing order.

Please contact for more details

A round up of events, new releases and more to look out for over the next seven days...

BBC Proms. Yeah, this began last week (and we tipped it then), but it properly gets going this week and it goes on for ages, so we might as well pop it in again. Plus this is quite a quiet week for music business events. And this second plug gives us another opportunity to direct you towards our interview with the Director of the Proms, Roger Wright.

Latitude. The Latitude festival takes place this weekend, its first outing since taking on former Great Escape booker Natasha Haddad. And a very good line-up she's pulled together too, with headline sets from Bloc Party, Kraftwerk and Foals, plus appearances from Yo La Tengo, Cat Power, Efterklang, James Blake, and lots more.

Lovebox. Those looking to summer in the city need look no further than London's Lovebox, which takes place on Victoria Park once again. This event has the impressive triple whammy of Azealia Banks, Plan B and Goldfrapp occupying the top of the bill. There's also Jurassic 5, Rudimental and D'Angelo, amongst others.

New releases. New albums you may or may not wish to check out this week come from the Pet Shop Boys, Robin Thicke, Cody Simpson, Thundercat, The Japanese Popstars and David Lynch. You could also pick up an extended vinyl mix of Daft Punk's 'Get Lucky', a split single featuring collaborations between Ariel Pink and Jorge Elbrecht, and the latest offering from Laki Mera. Oh, and there's a Super Audio CD release of Vangelis' 'Blade Runner' soundtrack. Yes, SACD is still a thing.

Gigs and tours. Hey, let's start with some one-off shows in London, shall we? Yes, we will, you don't get to choose. Those Yeah Yeah Yeahs will be in town at the Islington Academy tonight. Meanwhile, CocoRosie and Youth Lagoon will be co-headlining at The Barbican on Saturday (Youth Lagoon also have some solo dates, as well), and Laura Welsh will be playing at the Africa Centre this evening. Kicking off tours this week are Paul Weller, Devendra Banhart, Japandroids, and Johnny Flynn.

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After weeks of high profile Pandora-bashing by the artist and wider music community in the good old US of A, the spotlight was thrown back onto its rival Spotify here in the UK yesterday after Thom Yorke and Nigel Godrich both took to the net to formally express displeasure in the all-you-can-eat streaming business model.

And to prove their point they announced that their respective solo albums, and the long-player from their collaborative venture Atoms For Peace, had all been removed from Europe's highest profile streaming service.

Announcing what he dubbed as a "small meaningless rebellion", producer Godrich said via a string of tweets: "We're off of Spotify. Can't do that no more man. Someone gotta say something. It's bad for new music. The reason is that new artists get paid fuck all with this model. It's an equation that just doesn't work".

Although targeted specifically at Spotify, Godrich - and later Yorke - seem to be expressing concerns about the wider emerging streaming market which, they seem to reckon, has become too quickly controlled by a small number of tech start ups and the bigger labels. Labels which, they might argue, exploited their massive catalogues to encourage a business model that most suited, well, big labels with massive catalogues.

Godrich continued: "The music industry is being taken over by the back door, and if we don't try and make it fair for new music producers and artists, then the art will suffer. Make no mistake. These are all the same old industry bods trying to get a stranglehold on the delivery system. The numbers don't even add up for Spotify yet. But it's not about that. It's about establishing the model which will be extremely valuable, meanwhile small labels and new artists can't even keep their lights on. It's just not right".

He went on: "Plus people are scared to speak up or not take part as they are told they will lose invaluable exposure if they don't play ball. Meanwhile millions of streams gets them a few thousand dollars. Not like radio at all. Anyway, thems the breaks. Opinions welcome, but discussion and new thinking necessary".

Joining in the online debate Godrich's announcement initiated, Yorke added: "Make no mistake, new artists you discover on Spotify will not get paid; meanwhile shareholders will shortly being rolling in it. Simples". While, noting the response 'your small meaningless rebellion is only hurting your fans ... a drop in the bucket really', he continued: "No, we're standing up for our fellow musicians".

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Of course Godrich and Yorke aren't the first artists to criticise Spotify, though the streaming service has recently talked round some of the early holdouts, and critics have been less vocal of late. So this new intervention by artists as high profile as Godrich and Yorke will be a set back for Spotify in PR terms, even if the loss of content being announced yesterday was negligible.

Of course, while labels and publishers have joined in with the Pandora bashing of late, it is mainly artists (and very small labels) who have been Spotify critics. That's because Pandora is (with some recent exceptions) licensed via the collective licensing system, which the US music industry increasingly reckons Pandora is trying to exploit to drive down its royalty payments. Spotify, though, has direct relationships with the labels, the bigger of which also have equity in the digital firm. Said labels, therefore, are allies.

This has been a help and a hindrance to Spotify. On the one hand, it means they have lots of high profile supporters in the record industry. On the other hand, it makes it harder for the digital firm to point out that when some artists have complained about the tiny royalties they are receiving from Spotify, they are probably talking about the money they receive after the label has taken its cut, which is likely the vast majority of the money - ie it could well be the label rather than the streaming service that is screwing over the talent.

Though Atoms For Peace released their album on Beggars label XL Recordings, which is known for splitting streaming revenue 50/50 with its artists, and has a reputation of being more transparent than the majors, which removes the "oh, it's the label to blame" excuse. (And, of course, some of the artists who have criticised Spotify royalties in the past self-release, so there is no label taking the lion's share of the money there either).

One big challenge for Spotify et al in countering critics in the artist community is actually the notion that streaming services are a panacea to the music industry's woes, "Spotify is here to rescue the music business" etc.

Partly put out by the streaming sector's own PR machine, and partly the result of lazy journalism, the royalties streaming services pay out ARE worryingly low if you buy the idea that Spotify and its direct rivals are the sole replacement for the CD business of old, rather than one cell in the matrix that is the new music business.

And all the more worrying when you realise that: Spotify's profit margins are tiny; the £5 basic/£10 premium price point has become very much the expected norm, making big increases tricky; and the saving grace that more mainstream users will listen to less music (making the per-play income higher) is based on the assumption mainstream users will ever sign up for all-you-can-eat music services, which is far from assured.

The solution is undoubtedly the expansion of sell-through services by all the streaming platforms, so that Spotify etc drive extra revenue for artists in other ways (beyond ad and subscription monies), helping unlock the other cells of that new business model matrix.

It's something most streaming services have mentioned at one time or another, and an area where YouTube has led to date, though behind the scenes the Beats in-development streaming service, code named Daisy, is also reportedly making significant moves in this direction, capitalising on boss man Ian Roger's Topsin-based direct to fan knowledge and contacts.

Sell-through from streaming music platforms is so obvious it's surprising ticket, t-shirt and premium content buttons haven't been standard for a while, though the number of stakeholders involved in any one artist's worldwide affairs makes the whole thing less simple that it should be.

Of course none of that helps songwriters and producers without tickets or t-shirts to sell. Though it might just be that featured artists of the future need to share a bigger cut of the loot with their collaborators if copyright revenue is going to account for a smaller slice of the pie.

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The Doobie Brothers' Michael McDonald has reached an out-of-court settlement with Warner Music over his digital royalty dispute with the major.

As previously reported, McDonald is one of a coach load of American heritage artists who have accused the major labels of short-changing them, by treating download money as 'record sales income' rather than 'licensing revenue', even though the agreements the labels struck with iTunes et al are called licensing deals. It's a key distinction, because under most pre-digital record contracts, the artist receives a much bigger cut of licensing revenue than record sales money.

All this, of course, became big news after Eminem collaborators FBT Productions successfully sued Universal for a bigger cut of the digital money generated by Slim Shady's early recordings, in which they had a stake. Numerous artists have since sued citing the FBT precedent, McDonald even hiring the same lawyer as the Eminem collaborators for his litigation against Warner.

No details of the settlement with McDonald are known, though it indicates that the majors are, in the main, keen to keep these lawsuits out of the courts, even though officially they deny any across-the-board wrongdoing.

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Morrissey has confirmed reports that he was forced to cancel several dates on a South American tour, which was due to begin last week, after contracting food poisoning in Peru.

As previously reported, the promoter of two dates in Peruvian capital Lima told local reporters that the entire tour had been cancelled. Though promoters of dates later in the tour, in Brazil and Argentina, subsequently denied that their shows had been pulled.

Now Morrissey has issued a statement confirming the cancellations in Peru and Chile, but adding that he should indeed be able to play the later tour dates as planned.

In typically dramatic style, the singer wrote: "I can't give words to the sorrow I feel at the loss of perfect Peru. Oh, black cloud. After such a victorious and uplifting welcome of Lima love, the contaminated jinx had its way via a simple restaurant meal of penne pasta and tomato. Three hours later, both I, and security Liam have collapsed with a deadly and delirious bedridden disease. Five days of round-the-clock medical supervision just barely controls the corrosively toxic food poisoning. I know my luck too well. Sorrow replaces joy, and in every dream home a heartache. It could only be me".

He continued: "I have returned to Los Angeles and to the expert supervision of my doctor Jeremy Fine, who assures me that I shall be fine (although not in the gossamer, powdery sense) for our upcoming shows in Argentina and Brazil. I have absolutely no idea where my beloved Chile has gone. In the heat of cancellations and postponements, the humiliation and mortification I feel on a personal level is too mammoth to be measured. If my spirits climb down any lower I could never again find the dignity to stand upright. We all live at the mercy of biological chance, and although I am not one to take refuge in clichés, I repeat my very servile apologies to any and all who back-packed their way to Peru. Alas, the dark shadow made the same journey".

Finally, he concluded: "Each year of life brings us nearer to our decline, but I will continue to seek a listener until I'm dead in a ditch".

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A spokesperson for the Manic Street Preachers has told the NME that the band were "horrified" after their song 'If You Tolerate This Your Children Will Be Next' was used in an unofficial YouTube video to promote an upcoming demonstration in Birmingham by the English Defence League.

The band have apparently now issued a takedown notice, though this morning the video in question is still on YouTube. Given the song's fairly overt anti-fascist message, you might think it would be funnier to leave it up there. Though presumably most people viewing the video haven't spotted that irony.

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Various members of the House Of Lords last week backed a call for the government to develop a national strategy to capitalise on the potential of music-based tourism, ie to better utilise festivals and the UK's music heritage as tools to boost tourist trade.

The topic was the subject of a debate led by Liberal Democrat lord Mike Storey, whose home city Liverpool has capitalised more than most on its rock n roll back-story. He told the House: "I have seen first-hand the positive impact music can make on local tourist economies. But we must also consider the impact music can have on the country as a whole. Great Britain simply has too much potential for musical tourism for the government to stand idly by. I strongly urge the government to consider how best to implement a well defined music strategy".

The cause was also backed by another peer in Helen Liddell, who is also a non-executive director of tourism agency VisitBritain, so presumably has some influence in this domain. She said: "We are not doing as well as we could for music tourism. We need to have more resource behind promoting it. We have the talent, the determination and the worldwide focus. Let us make this a key pillar of our tourism strategy into the future".

The debate comes as cross-sector trade body UK Music continues to work on a major report into the economic value of music tourism, and how its full potential could be better realised.

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Right, Timberlake. You can fuck right off. Go on, fuck the fuck off. What was the fucking point of that fucking teaser video? Fucking hell. Two days. Just two fucking days it took before you revealed the track you'd teased in a fucking teaser video. Two fucking days. Fuck. Why not just put up the whole track in the first place? For fuck's sake.

Anyway, Justin Timberlake has revealed the release date for his new single, which was originally blurred out in that stupid teaser video last Wednesday. It was "today". Except it wasn't the 'today' from when the video first aired (albeit with that word blurred), rather it was Friday, or 'today' on the day of the reveal. Which means Justin's a liar too. A tease and a liar.

But what about the truth? The truth is that you can now pre-order part two of Timberlake's already over-long album, 'The 20/20 Experience', and get this new track from it, 'Take Back The Night', straight away.

You can also listen to 'Take Back The Night' here. It's not very good.

PS - Music marketing in 2013, I am tired of you.

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Lady Gaga announced release details about her new album, 'ARTPOP', over dinner last week. As previously noted, the album/app combo will be released on 11 Nov, with the first single from it out on 8 Aug. Fun, fun.

The appy nature of the album was first announced by Gaga last September, with the singer hinting that fans might be able to get their hands on it in the new year. It's possible that the subsequent delay was down to the technical ambition of the app. Though it's also possible that a year-long wait was always the plan. Who knows?

Anyway, a statement posted on Facebook on Friday explained that the app is "a musical and visual engineering system that combines music, art, fashion and technology with a new interactive worldwide community - 'the auras'".

In other words, it'll have music and pictures, as well as a social function, and will look nice and seem exciting at first, but ultimately have very little shelf life. Maybe it'll throw in the added bonus of forcing you to buy the MP3s separately if you want to listen to the album outside the app, making it an expensive and unsatisfying way to own an album. Everyone loves that.

Or maybe it'll be amazing and totally revolutionise the music industry. How about we all stop being so bloody cynical for a moment, huh? Honestly, you people.

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The head of production at Jack White's Third Man label, Ben Blackwell, has told Billboard that the design of the vinyl version of Jay-Z's new 'Magna Carta Holy Grail' album, which is being released through the label, is his "annual good idea".

Blackwell was unable to provide much details on the release though, only that it is currently in production. He said: "How many of the limited version, I'm not exactly sure - but the idea is there will be two different versions. I like to think I get one good idea a year, and this might be my good idea for the year - without being too specific".

Jay-Z himself has been a little more specific though, revealing last week that the LP will come with a 'playable letter' featuring 'Open Letter', a track not featured on the digital release of the album. Speaking to Hot 97, he said: "It's in a letter ... You can play the letter. It's amazing. You open the letter and you can actually play the card like a vinyl".

As for how the Jay-Z/Third Man deal to release the new record (and the vinyl version of the Jay-coordinated 'Great Gatsby' OST) came about, Blackwell said: "Jack and Jay-Z are friends. That's how we did the 'Great Gatsby' vinyl and that's how this came about as well. I don't ask too many questions - if someone hands me a Jay-Z album and says put it out, I'm going to go put it out".

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Sky Ferriera's debut album, which was originally supposed to come out in about 1937, I think, has now been delayed until 2014. Or so says GQ, and I see no reason why GQ would lie about that. Serious though, what's going on with this record? She was signed to EMI in 2008. 2008!

Earlier this year, entertainment lawyer Ben McLane described Ferriera's situation to Kings Of A&R as the "the worst case scenario", saying: "Sky Ferreira's label has gone through four or five label presidents since she's been signed, and a big merger".

Meanwhile, in an interview with The Phoenix, Ferriera herself said of her relationship with EMI last year: "They told me the nastiest things, like, 'Sorry, there's already one girl coming out at the moment, we can't do two'. I turned in five different albums and none of them made sense. It was just one thing after the other and getting shelved".

No fun. Oh well, here's some classic Ferriera, 2010's 'One'.

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Durex has issued a statement denying any involvement with Daft Punk over their new line of 'Get Lucky' condoms, contrary to reports which circulated last week.

The company told MTV News: "We are aware of reports that Durex has launched Daft Punk branded condoms following their hit single 'Get Lucky'. There is no Durex promotion or partnership with Daft Punk in the US or any other markets and Durex is not posting free packs to the world's top DJs as suggested. However, we do hope that by using Durex condoms, music-lovers will continue to make sweet music together and have great sex!"

Woah, Durex, what the fuck was that? "We do hope that by using Durex condoms, music-lovers will continue to make sweet music together and have great sex"? Did you read that back to yourself before you pressed send on the email?

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Universal Music's artist management agency Twenty First Artists has announced the appointment of Alex Fisher to the role of General Manager. He was previously Senior Artist Manager for the firm, which he joined in 2010, having worked with the company's CEO Colin Lester since 2007.

Confirming the promotion, Lester told Music Week: "In this business when you find someone with great potential you need to nurture and guide them. Alex has been with me since the beginning of his career and has been incredibly loyal and a fantastic asset to our company. His promotion to GM is a reward for his hard work and a recognition of the fact that he is a really important part of our plans for the future".

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So, seemingly Ninja Tune was onto something when it launched a crowdfunding site to raise money for represses of out-of-print vinyl on indie labels, as Universal has announced it's now launching a similar service for its own catalogue.

The service will be operated under Universal's vinyl-focussed Uvinyl website. Repressed records will also come with downloads and "personalised art prints". Releases currently being considered for being made available to funders include 'ABC' by The Jackson 5, Sonic Youth's 'Goo', Björk's 'Biophilia', 'Goodbye Yellow Brick Road' by Elton John, 'His N Hers' by Pulp, 'Hysteria' by Def Leppard, Cream's 'Disraeli Gears', and Nirvana's 'MTV Unplugged' performance.

You can register your interest here.

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While AT&T is reportedly in talks with Beats about the possibility of bundling the headphone firm's in-development streaming music service when it launches later this year, the American telecoms giant has just acquired a streaming service all of its own.

It was confirmed last week that AT&T had bought Leap Wireless, which in turns owns US mobile service Cricket Wireless and its popular Muve Music streaming set-up. What the deal means for AT&T partnering with Beats or others in the digital music space isn't yet clear.

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Black Eyed Peas singer Fergie is in the process of legally changing her real name from Stacy Ann Ferguson to Fergie Duhamel, according to TMZ. The singer married actor Josh Duhamel in 2009 and is currently pregnant with their first child.

Documents requesting the name change reportedly state that she wishes her legal name to "conform to the first name which she is commonly and professionally known as, and has been for many years".

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Amanda Palmer responded to a Daily Mail article about her through a new song this weekend, performing it at The Roundhouse in London on Friday night.

The article in question was published following Palmer's performance at Glastonbury last month, and informed the paper's readers (with photographic evidence) that one of the singer's breasts had briefly fallen out of her bra while she was on stage.

Making no reference to anything else about Palmer's set, and using the fairly weak pun that she had been "making a boob of herself", the paper added: "The 37 year old American singer is no stranger to performing in her underwear, or wearing provocative outfits on stage".

Of course, had someone at The Mail Googled the singer, as Palmer notes in her song, they would have found plenty of pictures of her happily exposing her breasts. Though this, she sang, wouldn't chime so well with the paper's agenda of "debasing womens' appearances", before stripping entirely naked.

So far Daily Mail Overlord Paul Dacre has not performed a song in response, naked or otherwise, but you can watch Palmer's musical correspondence being performed here.

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CMU Editor Andy Malt and CMU Business Editor Chris Cooke are both available to comment on music and music business stories. Together they have provided comment and contributions to BBC News, BBC World, BBC Radios 1, 4, 5, 6music and Scotland, Sky News, CNN, Wired and the Associated Press. Email or

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