TUESDAY 14 APRIL 2015
TODAY'S TOP STORY: The latest efforts by the American record industry to force terrestrial radio stations to pay royalties to labels solidified around a new piece of legislation in Congress yesterday, The Fair Play, Fair Pay Act, with four members of the House Of Representatives backing the bill: Democrats Jerrold Nadler, John Conyers Jr and Ted Deutch and Republican Marsha Blackburn. As much... [READ MORE]
 
TODAY'S APPROVED: Following on from a trilogy of EPs unleashed over the last couple of years, Marika Hackman released her debut album, 'We Slept At Last', last month. It's a record filled with solid songwriting and a folk-influenced sound that feels familiar without being derivative and modern without forgetting the past. Her next single, 'Ophelia', is due out on 27 Apr. One of the stand out... [READ MORE]
TOP STORIES Radio royalties for labels back on the agenda in Washington as Fair Play, Fair Pay Act unveiled
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DEALS Mariah Carey signs to Sony/Epic ahead of Vegas residency
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LIVE BUSINESS PRS For Music announces new review of live music licensing
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MARKETING & PR New comms boss at UK Music
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DIGITAL & D2F SERVICES Florence Welch and Taylor Swift amongst artists targeted by Apple for exclusives
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MEDIA BBC announces special day to remind everyone that music exists
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GIGS & FESTIVALS The Vaccines announce UK tour dates
Everything Everything announce UK tour dates
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ONE LINERS Red Deer Club is ten, Miley Cyrus is in the studio, Jamie T is playing a one-off charity show, and more things that are
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AND FINALLY... Mumford & Sons and Death Cab For Cutie criticise artists involved in Tidal's launch
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MUSIC CONCIERGE - PLAYLIST DESIGNERS (HERTFORD)
Music Concierge, the award-winning music consultancy for boutique hotels and luxury brands, is looking for music Playlist Designers to join our small but expanding creative team.

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LIVE NATION - SOCIAL & CONTENT MANAGER (LONDON)
We’re looking for a Social and Content Manager who is passionate about music, social media and digital content. You will be responsible for working with the Head of Digital Marketing to develop and implement our social and content strategy to grow reach, engagement and first party data.

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SJM CONCERTS - MARKETING ASSISTANT (MANCHESTER)
The purpose of this role is to assist and support our marketing team to maximise exposure of events promoted by SJM Concerts. To assist with the implementation of our marketing campaigns to generate sales for new tours and events via various platforms including press, radio, TV, digital and print.

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LIVE NATION - HEAD OF SALES & MARKETING, VIP NATION (LONDON)
Reporting to the SVP of VIP Nation, this role is responsible for the day-to-day management of VIP Nation’s touring rights, associated key relationships and its sales and marketing function.

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AIRMTM - JUNIOR ACCOUNT MANAGER (LONDON)
We’re looking for a keen, bright, music-obsessed individual, who has worked in the industry for at least a year, to join our small PR team in Shepherd’s Bush.

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MN2S - DIGITAL PR ASSISTANT (LONDON)
Leading independent booking agency MN2S is looking for a Digital PR Assistant. You will be responsible for leveraging existing media contacts to gain coverage around MN2S & the artists we represent and building a solid network of media contacts to gain coverage of the company and our artists.

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LISTEN UP - PRESS INTERN (LONDON)
We are currently seeking an energetic, enthusiastic Press Intern to provide support to our expanding Press Department. The ideal candidate will be highly organised, have a good knowledge of various electronic music genres, good writing skills and a passion for press. This is a full-time paid internship for six months.

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16EIGHT - ACCOUNT MANAGER (LONDON)
16eight is a creative design and marketing studio located in East London. We are looking for a full time Account Manager to join the team from May 2015. This is a great opportunity for someone interested in working as part of a new and dynamic yet small team, managing multiple projects covering the arts and music, travel and tourism, NGO, charity, fashion and events sectors.

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AWAL/KOBALT LABEL SERVICES - SENIOR CLIENT & LABEL MANAGER (LONDON)
We are looking for an experienced Client/Label Manager to be based at the Kobalt office in London. The Client/Label Manager is the main point of contact for our clients into the company, and will be responsible for the co-ordination of releases, client support and product development.

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POLLSTAR UK - SALES ACCOUNT EXECUTIVE (LONDON)
The current opening for an Sales Account Executive offers a dynamic career opportunity in the live music industry. Applicants should have a minimum of five years sales experience, preferably including sales management experience, sales training experience, strong references and solid computer skills.

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[PIAS] ARTIST & LABEL SERVICES - LABEL MANAGER (LONDON)
[PIAS] Artist & Label Services has one of the most experienced label management teams in the business. We are looking to add to the team and bring in a new label manager to work alongside us in supporting the broad range of labels with whom we work.

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DOMINO - DIGITAL ACCOUNT MANAGER (LONDON)
Domino is seeking a confident individual to oversee its digital account and sales initiatives, based in the London office. The position will manage key partnerships and initiatives across digital music and video service providers (such as iTunes, Spotify, Vevo and Amazon MP3) with a particular focus on the UK and European markets.

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SOLD OUT - DIGITAL DESIGNER (LONDON)
Sold Out is an independent full service advertising agency, specialising in arts and entertainment for 20 years. We love what we do, driven by a passion for creating innovative and inspiring campaigns that create a buzz and deliver results. You will be working as part of the creative studio, working closely with the design team to roll out campaigns to tight deadlines.

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HART MEDIA - PLUGGER (LONDON)
Hart Media is one of the UK's leading Radio PR agencies. Our clients have included Passenger, The Prodigy, Public Service Broadcasting, Sophie Ellis Bextor, Motorhead, Deaf Havana, Broncho, Lucy Spraggan, Madness, Darlia, Ward Thomas, Alison Moyet to name a few. We're looking for a passionate and enthusiastic music lover with at least one year's previous experience in radio promotions or similar role.

For more information including a full job description and how to apply click here.
   
ISOLATION NETWORK INC - ASSOCIATE, CLIENT OPERATIONS (LONDON)
Isolation Network, Inc. ("IN") is the parent company of INgrooves Music Group and INscribe Digital. IN's technology powers media distribution for INgrooves Music Group, INscribe Digital, as well as a number of corporate enterprise media clients. Operations Associate will be client facing, responsible for content ingestion, catalogue change requests and other operational activities.

For more information including a full job description and how to apply click here.
 
CMU Jobs is a proven way to recruit the best music business talent for roles across the industry at all levels, from graduate to senior management. To book an ad contact Sam on 020 7099 9060 or email ads@unlimitedmedia.co.uk
 

Radio royalties for labels back on the agenda in Washington as Fair Play, Fair Pay Act unveiled
The latest efforts by the American record industry to force terrestrial radio stations to pay royalties to labels solidified around a new piece of legislation in Congress yesterday, The Fair Play, Fair Pay Act, with four members of the House Of Representatives backing the bill: Democrats Jerrold Nadler, John Conyers Jr and Ted Deutch and Republican Marsha Blackburn.

As much previously reported, federal copyright law in the US is unusual in that it does not provide a general public performance right to the owners of sound recording copyrights, which means that, unlike in pretty much every other country, you do not need a licence from a record company to play a sound recording in public or, say, on the radio.

There is a public performance right attached to the song copyright, so radio stations need a licence from and to pay royalties to songwriters and publishers, but they don't pay anything to artists and labels. This anomaly was the result of a deal between the record and radio industries back in the 1960s, when the record labels first pushed for federal copyright protection for sound recordings and the powerful broadcast lobby threatened to scupper the whole plan. But the labels have been trying to rewrite the law ever since.

The classic argument from the broadcasters is that radio airplay constitutes free promotion and therefore they shouldn't have to pay for the privilege of playing records. Which might work for when radio stations play new releases, but hardly applies to the plethora of stations playing music from the last century. Plus - as the music market moves from ownership to access business models online - even with new music, airplay becomes consumption rather than marketing.

The Fair Play, Fair Pay Act also aims to overcome the pre-1972 issue that has been rumbling around the courts in America for a while now. While AM/FM radio stations do not pay royalties to labels, online and satellite radio stations do, because the Digital Millennium Copyright Act applied a 'digital performing right' to the sound recording copyright.

But because federal copyright law only applies to recordings released since 1972, some online radio services argue that they do not need to pay royalties for pre-1972 repertoire. Though ironically, while fighting this argument in the Californian and New York courts - because pre-1972 recordings have copyright protection through state law - judges have started to err towards saying that at a state level a general public performing right exists, which would technically mean AM/FM stations paying royalties as well as digital services.

If passed, the Fair Play, Fair Pay Act would end that particular debate, and all the confusion around pre-1972 catalogue, by simply saying that a general public performance right exists on all sound recordings that are still within copyright Stateside.

musicFIRST, a music industry group that has been lobbying on this issue for some time, unsurprisingly welcomed yesterday's proposals in Congress, telling reporters that we now "stand at the doorway of an incredible opportunity - a once-in-a-generation chance to make radio work better for music creators, radio services, and, most importantly, music fans".

The musicFIRST statement went on: "It is time for Congress to update music licensing laws. AM/FM radio, satellite radio and internet radio exist side by side in car dashboards and compete for the same listeners. But whether performers and copyright owners are paid, and how much, depends solely on what button you press or app you choose. On internet radio, it is one rate. On satellite, it is a different, lower rate. And on AM/FM, there is no rate at all - music creators get paid nothing. I think that we can all agree that makes no sense".

"Now, some digital services are claiming they don't have to pay for pre-72 recordings. Several court decisions have already dismissed this absurd claim. The solution: all radio services should pay under the same 'fair market value' royalty standard for all of the music they play. Like everyone else who works, creates, or innovates, music creators deserve fair pay for their work".

"It's a question of basic economic fairness, but it is also a matter of fair competition between music services. No more special privileges for old technologies. No more giveaways. No more special interest exemptions and subsidies. No more picking winners and losers among radio platforms. Let the best services win - fair and square, on the depth of their playlists and the quality of their products.

"Fair market value for music will encourage creativity by music creators. It will promote innovation among music services. And - most importantly - it will give fans the best music they have ever heard - delivered in the most exciting ways they could ever imagine".

But needless to say, the radio industry isn't ready to give up this fight just yet, having successfully kicked past attempts at introducing a public performance right for sound recording owners out of the park.

The Free Radio Alliance said: "The performance tax legislation introduced by Rep Jerrold Nadler is mostly a patchwork of past proposals, which have failed to pass Congress previously. It's ironic that the only thing the music industry seems to be able to agree upon is taking more money from others, like radio stations, for themselves".

Mariah Carey signs to Sony/Epic ahead of Vegas residency
Following her latest change of management last week, Mariah Carey has announced that she has signed a new record deal with Epic Records at the behest of LA Reid.

This puts her back on Sony's books for the first time since her acrimonious split from the label in 2001, and back together with Reid, who is credited with overseeing her last big comeback with 'The Emancipation Of Mimi' in 2005.

Reid said in a statement: "I couldn't be more thrilled to be back together again with Mariah. There is really no one who comes close to Mariah as both a songwriter and a singer, and as the world knows, her vocal range is legendary and truly incomparable. Her music is indelibly etched into our culture, and she's shattered so many chart records that she's now firmly entrenched in the history books. With a fierce and loyal fan base that covers every corner of the globe, I have no doubt Mariah will do it again".

The first release under the new deal with be a compilation featuring eighteen of the singer's US number one singles, titled 'Mariah Carey #1 To Infinity'. It will also include a brand new single, called 'Infinity'. And quite cleverly, the title of the record will still work even if 'Infinity' doesn't go to number one. Not that I'm saying Sony doesn't have any confidence in the single.

'Infinity' will be premiered on 27 Apr, coincidentally the same day as a launch event for her upcoming residency at Caesar's Palace in Las Vegas. The show, which begins in the casino's Coloseum venue, will see Carey perform eighteen of her US number one singles each night of the twelve-week run. Can you see a theme developing here?

Here's the tracklist for the album/Vegas residency:

1. Vision Of Love
2. Love Takes Time
3. Someday (MTV Unplugged version)
4. I Don't Wanna Cry
5. Emotions
6. I'll Be There (feat Trey Lorenz)
7. Dreamlover
8. Hero
9. Fantasy (Bad Boy Fantasy featuring ODB)
10. One Sweet Day (feat Boyz II Men)
11. Always Be My Baby
12. Honey
13. My All
14. Heartbreaker (feat Jay-Z)
15. Thank God I Found You (feat Joe & 98 Degrees)
16. We Belong Together
17. Don't Forget About Us
18. Touch My Body
19. Infinity

PRS For Music announces new review of live music licensing
PRS For Music is having another big think about the way live music is licensed in the UK in the form of an eight week consultation on the terms of its Popular Music Concerts Tariff (aka Tariff LP).

Promoters of gigs and festivals are obliged to pay royalties to songwriters and music publishers for the songs that are performed at their events, of course, even when artists sing exclusively their own material, and these royalties are paid via the Performing Right Society. The PRS last launched a review into the way it licences live music in 2010, with that consultation being pushed back a few times so that it didn't conclude until late 2011, with the society deciding to keep things as they were.

But since then, says PRS, "we have undertaken further investigations into the live music industry, including commissioning independent third party research into consumer preferences when attending popular music concerts and festivals and the value song compositions make to these events. The consultation also follows a series of ongoing stakeholder reviews with many of the parties concerned".

During the 2010/11 review, many in the live music sector were critical of proposals PRS change its current licensing system, arguing that while - as the collecting society said at the outset of the consultation - the live industry had indeed boomed in recent years, all big music events are licensed on a revenue share basis, so if the promoters did better so did the songwriters and publishers. Though PRS actually shares in just ticketing income, and some in the live sector make more through food and drink sales and sponsorship deals.

But not everyone in the live industry is down on the idea of reforming the way PRS licenses gigs, especially as one of the ideas reportedly considered in 2010/11 was a reform of the system that means the top end of the live sector paid more but grassroots venues and promoters paid less. And given how top heavy the live industry is, those operating at the grass roots would argue that would be both a good and fair development.

Given that its previously reported paper on the state of the grassroots live sector was somewhat critical of PRS, the Music Venue Trust has welcomed this new review.

It said in a statement yesterday: "We are delighted to announce that following extensive discussions with PRS For Music after Venues Day 2014, PRS have today announced a consultation and review of Tariff LP which all music venues across the country can engage with and play a part in shaping. This is a significant achievement, and shows the power of working together to make our voice heard".

The Trust admitted that "we are disappointed that the framework of the review does not find space to specifically mention the impact of the minimum fee, or of single event reporting, both major issues for small music venues which were loudly talked about at Venues Day".

But looking at the bright side, its statement said: "However, we have a review, and we have the opportunity to demand the end of the minimum tariff, the collection of royalties across a number of concerts, and the transfer of the administration of the collection of fees from the venues to the rights-holders, where we believe it legally and logically belongs".

They concluded: "We urge all music venues across the UK to engage with this consultation. We know how busy everybody is, and we will shortly be writing to all of you with details of how we can speak with a coherent voice to demand a fair deal from PRS For Music. We will be providing specific guidance on a collective position which we hope will be positively responded to, and which will enable you to fill in the consultation as quickly as possible".

Commenting on the review from their side, PRS For Music Commercial Director Paul Clements told reporters: "The live music sector has changed dramatically since 1988, when the current tariff was set by the UK Copyright Tribunal. The purpose of this consultation process is to engage with our customers and members, to provide an open dialogue in reviewing PRS For Music's Tariff LP. As a membership organisation, we have an obligation to ensure that our licensing is simple, efficient, fit for purpose - and recognises the valuable contribution our songwriters and publishers make to the live music industry".

New comms boss at UK Music
Cross sector trade body UK Music has announced the appointment of a new Director Of Communications in the form of James Murtagh-Hopkins, who has previously held in-house and agency PR roles in the music space, as well as stints working in artist management and music film.

He will "use his strategic publicity experience to help deliver focused and impactful communications for UK Music around all of our core campaign objectives", says the press release, which was both strategic and impactful, so things are already in motion.

Commenting on his new job, Murtagh-Hopkins told reporters: "I am incredibly excited to be joining Jo Dipple and her fantastic team at UK Music, and am looking forward to working closely with all of our member organisations to help highlight the core issues facing the UK music industry today".

Noting UK Music's core lobbying role, he added: "With the General Election just around the corner, 2015 marks an important year for UK Music and will see us publish key reports and research that will continue to showcase both the cultural and economic value of music in the UK".

Murtagh-Hopkins' recruitment follows the recent departure from UK Music of Jonathan Todd, who spent just over a year with the group leading its research activity, while concurrently working as Chief Economist at think tank Demos. Though Todd will continue to work for UK Music in a consultancy role via his new employer BOP Consulting.

Florence Welch and Taylor Swift amongst artists targeted by Apple for exclusives
So, Apple has asked over a dozen artists - including both Florence and her Machine - to sign up to exclusivity deals around the launch of the all-new Beats-infused iTunes service, that is expected to both wow and under-whelm (depending who you talk too) music fans worldwide this summer.

According to Bloomberg, Apple has been courting various artists for access to exclusive content, preferably exclusive digital rights to new albums for a set time period.

As noted in this month's CMU Trends Report, Apple's advantage over - say - some fly-by-night streaming set-up run by a cheeky rap boy and his missus - is that it can do combined download/stream exclusivity deals, which are less demanding on fans, who can either sign up to iBeats to stream, or pay to download the new record while continuing to stream elsewhere.

It's thought that Taylor Swift has also been approached by the Apple monolith, perhaps to secure the exclusive rights to her moaning on and on about freemium and her "art". I'd pay for that. Taylor Swift's Daily Moan. Only on iTunes.

Speculation continues to grow, of course, as to what the long-awaited all new iTunes will look like. It'll presumably combine the download store, the Beats Music streaming service and the existing iTunes personalised radio set up, meaning a la carte, subscription and ad-funded options will all be available. Though will Apple really be able to exploit its continued dominance in the flagging download market to catch up in the rapidly expanding streaming sector, where it is somewhat late to the party, even with its Beats Music acquisition.

Yesterday Music Ally reported that in the US Apple is now paying music journalists to write punchy copy to sit atop each of the many, many, many playlists that will be offered by the new look iTunes. Meanwhile the tech giant continues to seek an Editorial Producer in London. Which points to the not-especially-surprising conclusion that curation and original editorial will be key to the new iBeats, though most streaming services are now dabbling in this space, so it'll be interesting to see whether original words aplenty really make any difference.

BBC announces special day to remind everyone that music exists
The BBC has announced the very first BBC Music Day, on 5 Jun, a special day when all people - all of them - will come together to celebrate their love of music. Except people who listen to Radio 1, which isn't involved for some reason.

Who needs Radio 1 though, when you've got Radio 2, Radio 3, 6 Music, the Asian Network, BBC Local Radio and, most importantly, 'The One Show' on BBC One, which will broadcast live from a special Music Day event in Glasgow.

There will also be ambassadors involved to talk up the event, who include Tom Jones, Lulu, Ricky Wilson, Ricky Ross, Rae Morris, George Ezra, Mark Ronson, Shlomo, Bollywood singer Kanika Kapoor, Only Men Aloud's Tim Rhys Evans, and conductor Charles Hazlewood.

As you can imagine, with so many people involved, there are a lot of quotes to go along with the announcement of BBC Music Day. I've summarised them all for you below:

BBC Music Director Bob Shennan: "Music"
Charles Hazlewood: "Music"
Ricky Wilson: "Music"
Lulu: "Music"
Rae Morris: "Music"
Kanika Kapoor: "Music"
Harry Styles: "Music"
Louis Tomlinson: "Music"
Niall Horan: "Music"
Liam Payne: "Music"
George Ezra: "Music"
Tenor Noah Stewart: "Music"

Unfortunately, there's now not space to list all the events happening on BBC Music Day. Luckily, some of the money spent on this incredible waste of time and licence fee income has gone on building a website, where you can find out for yourself.

  Approved: Marika Hackman
Following on from a trilogy of EPs unleashed over the last couple of years, Marika Hackman released her debut album, 'We Slept At Last', last month. It's a record filled with solid songwriting and a folk-influenced sound that feels familiar without being derivative and modern without forgetting the past.

Her next single, 'Ophelia', is due out on 27 Apr. One of the stand out tracks from the album - alongside my personal favourite, 'Open Wide' - the song shows off her striking skill with melody and lyrics, it being inspired by Shakespeare's 'Hamlet' and telling a tale rejection.

If you're quick, you can catch Hackman on the last two dates of her UK tour, playing The Portland Arms in Cambridge tonight, following by The Joiners in Southampton tomorrow.

Watch the video for 'Ophelia' here.

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The Vaccines announce UK tour dates
The Vaccines have announced winter UK tour dates, which they will close off with two nights at the Brixton Academy. All of which will, of course, go towards the continued promotion of their latest album, 'English Graffiti', which is due out on 25 May.

Tickets won't go on sale until 9am on 24 Apr, which seems like a very long time away. Why not pass the time by watching the video to new single 'Dream Lover' on repeat? Or something else. I'll let you choose.

Here are the dates, so you can prepare:

10 Nov: Blackpool, Empress
12 Nov: Plymouth, Pavilions
13 Nov: Cardiff, Motorpoint Arena
15 Nov: Bournemouth International Centre
16 Nov: Bridlington Spa
17 Nov: Wolverhampton Civic Hall
19 Nov: Brighton Centre
20 Nov: Nottingham, Capital FM Arena
22 Nov: London, Brixton Academy
23 Nov: London, Brixton Academy

--------------------------------------------------

Everything Everything announce UK tour dates
Everything Everything will be touring in November too. This in support of their new album 'Get To Heaven', which is out on 15 Jun. Tickets go on sale on 17 Apr.

Here are the dates:

7 Nov: Cardiff, Great Hall
8 Nov: Bexhill, De la Warr Pavillion
9 Nov: Portsmouth, Pyramid
11 Nov: Nottingham, Rock City
12 Nov: Glasgow, ABC
13 Nov: Newcastle, Academy
14 Nov: Birmingham, Academy
16 Nov: Sheffield, Leadmill
17 Nov: Cambridge, The Junction
18 Nov: Bristol, Academy
20 Nov: London, Brixton Academy
21 Nov: Manchester, Apollo

And here's their latest single, 'Distant Past'.

Red Deer Club is ten, Miley Cyrus is in the studio, Jamie T is playing a one-off charity show, and more things that are

Other notable announcements and developments today...

• ATP Recordings has signed Grimm Grimm to release his debut album, 'Hazy Eyes Maybe', on 29 Jun. The title track will be released as a single on 4 May. Listen to it here.

• Red Deer Club has announced a series of events and compilations around the label's tenth anniversary. Full details here.

• Miley Cyrus has Instagrammed a clip of a new track. You can listen to it here.

• One of our 2014 Artists Of The Year, Babymetal's debut album will get a full UK release through earMUSIC on 1 Jun, with new track 'Road Of Resistance' and a live version of 'Gimme Chocolate!' from their Brixton Academy show thrown in.

• Jamie T has announced a one-off acoustic show at Hackney Empire to raise money for the Lullaby Trust. Pre-sale tickets will go on sale at the musician's website at 10am tomorrow, before going on general sale on Friday.

• The Staves have announced UK tour dates for later this year, including a show at The Roundhouse in London on 9 Nov. Tickets go on sale on 17 Apr at 9am here.

• Faith No More have announced two UK headline shows following their appearance at Download. They'll play Glasgow Academy on 14 Jun and The Roundhouse in London on 17 Jun.

Mumford & Sons and Death Cab For Cutie criticise artists involved in Tidal's launch
At the end of that awkward Tidal launch event last month, I reckon at least four of the big name artists who squirmed their way through it genuinely thought they'd done something good for all artists everywhere. So they'll probably be upset to hear that some other musicians are pretty ungrateful about their decision to accept equity in a company (and possibly a stack of cash) for the good of the music community at large.

Speaking to The Daily Beast, Ben Gibbard of Death Cab For Cutie said: "If I had been Jay-Z, I would have brought out ten artists that were underground or independent and said, 'These are the people who are struggling to make a living in today's music industry. Whereas this competitor streaming site pays this person fifteen cents for X amount of streams, that same amount of streams on my site, on Tidal, will pay that artist this much'".

"I think they totally blew it by bringing out a bunch of millionaires and billionaires" he added, "and propping them up on stage and then having them all complain about not being paid. There was a wonderful opportunity squandered to highlight what this service would mean for artists who are struggling and to make a plea to people's hearts and pocketbooks to pay a little more for this service, that was going to pay these artists a more reasonable streaming rate. And they didn't do it. That's why this thing is going to fail miserably".

Talking of failing to deliver the right message to consumers, we've seen some evidence that some consumers are under the impression that the Tidal deal is $20 to access just the music of the sixteen artists at the launch, and that Tidal will be the only place to stream that content. Which isn't the product at all, but these things will happen when your launch is all about your a-lister supporters, with nothing said about your actual service.

And don't think the Tidal dissing stops with Gibbard. Mumford & Sons are another band not impressed with a bunch of millionaires standing on stage claiming to stand up for the little guy. Also speaking to The Daily Beast, they said they weren't invited to be involved with the launch but "wouldn't have joined it anyway, even if they had asked".

"We don't want to be tribal", continued Marcus Mumford. "I think smaller bands should get paid more for it too. Bigger bands have other ways of making money, so I don't think you can complain. A band of our size shouldn't be complaining. And when they say it's artist-owned, it's owned by those rich, wealthy artists".

"What I'm not into is the tribalistic aspect of it", he continued. "People trying to corner bits of the market, and put their face on it. That's just commercial bullshit. We hire people to do that for us rather than having to do that ourselves. We just want to play music, and I don't want to align myself with Spotify, Beats, Tidal, or whatever. We want people to listen to our music in their most comfortable way, and if they're not up for paying for it, I don't really care".

As previously reported, Tidal's Chief Investment Officer defended the musicians who pledged allegiance to the company (or whatever it was they were doing on that stage) saying: "There is bravery in what these artists are trying to do. It's not to fill their own pockets, it's to create a sustainable industry. And what we're promising to people is, 'this is gonna continue to evolve' and we really mean that".

One of the selling points of the revamped Tidal, of course, is the use of exclusive content to draw consumers in. But, asks an article in this month's CMU Trends Report, is the music industry really ready or prepared to create the amount of exclusive content required? Especially when Tidal isn't going to be the only company asking for it.

 
ANDY MALT | Editor
Andy heads up the team, overseeing the CMU bulletin and website, coordinating features and interviews, reporting on artist and business stories, and contributing to the CMU Approved column.
Email andy@unlimitedmedia.co.uk (except press releases, see below)
   
CHRIS COOKE | MD & Business Editor
Chris provides music business coverage and analysis. Chris also leads the CMU Insights training and consultancy business and education programme CMU:DIY, and heads up CMU publisher 3CM UnLimited.
Email chris@unlimitedmedia.co.uk (except press releases, see below)
   
SAM TAYLOR | Commercial Manager & Insights Associate
Sam oversees the commercial side of the CMU media, leading on sales and sponsorship, plus helps manage and deliver the CMU Insights training courses and consultancy services.
Email sam@unlimitedmedia.co.uk or call 020 7099 9060
   
CARO MOSES | Co-Publisher
Caro helps oversee the CMU media, while as a Director of 3CM UnLimited she heads up the company's other two titles ThisWeek London and ThreeWeeks Edinburgh, and supports other parts of the business.
Email caro@unlimitedmedia.co.uk
Send ALL press releases to musicnews@unlimitedmedia.co.uk - this is checked daily by the whole editorial team meaning your release will definitely get to the right person.

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