TUESDAY 7 JUNE 2016
TODAY'S TOP STORY: Artist manager and entrepreneur Troy Carter is heading for a senior job over there at the Spotifys. And why not, I say. Get in there and play with that borrowed billion before it all runs out and you've suddenly got those pesky city types busy having opinions about everything you do. Just ask Team Pandora, that's no fun whatsoever. Probably still best known... [READ MORE]
 
TODAY'S APPROVED: Ida Long's concurrent work as musician and an artist are both striking on their own, and elevate to another level when combined. To date she has released four singles from her latest album, 'Rainbows & Tears': '(I Get So) Dramatic', 'We Got', 'Baby Gone' and most recently 'Mannen På Taket', her first single in her native Swedish. The video for each track has... [READ MORE]
 
CMU TRENDS: YouTube remains the big talking point in the music community, but how did we get here, and where next? Based on his presentation at CMU Insights @ The Great Escape last month, CMU Business Editor Chris Cooke reviews the music industry’s relationship with Google’s big video platform. To access CMU Trends become a premium subscriber for just £5 a month. [READ MORE]
 
CMU PODCAST: CMU's Andy Malt and Chris Cooke review the week in music and the music business, including Guvera's IPO and the current challenges facing the streaming music market, the latest twist in Kraftwerk's legal battle over a two second sample of 'Metal On Metal', and Ellie Goulding’s defiant political stance on Donald Trump. The CMU Podcast is sponsored by 7digital. [READ MORE]
TOP STORIES Troy Carter steps away from artist management to join Spotify
JUMP | ONLINE
LEGAL Judge approves speedy timeline to assess claims of possible Prince heirs
Terra Firma returns to court to accuse Citigroup over its 2007 EMI acquisition
JUMP | ONLINE
LABELS & PUBLISHERS Armonia appoints first CEO
JUMP | ONLINE
LIVE BUSINESS SFX sells Flavorus to Vivendi
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MEDIA BBC announces Glastonbury coverage
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THE GREAT ESCAPE CMU@TGE: Getting more from YouTube
JUMP | ONLINE
RELEASES Angel Olsen announces new album
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ONE LINERS Trim, Of Montreal, AlunaGeorge, more
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AND FINALLY... Abba reunite (briefly)
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Click JUMP to skip direct to a section of this email or ONLINE to read and share stories on the CMU website (JUMP option may not work in all email readers). For regular updates from Team CMU follow us on Twitter, Facebook or Tumblr.
 
 
THE BREWHOUSE - EVENTS & LIVE MUSIC MANAGER (LONDON)
The Brewhouse at London Fields Brewery is one of East London’s most exciting event spaces. As the Events and Live Music Manager, you will be responsible for the booking, programming and promotion of our live music and club nights.

For more information including a full job description and how to apply click here.
   
PROPER MUSIC - NATIONAL ACCOUNT MANAGER (LONDON)
Proper Music Distribution is now the largest truly independent, full service distributor of music on all formats in the UK. Reporting directly to the Head of Sales, the National Account Manager’s role is to develop strong direct relationships with key domestic retail partners. Customers include HMV, Fopp, Amazon and supermarkets.

For more information including a full job description and how to apply click here.
   
PROPER MUSIC - ROYALTIES ACCOUNTANT (LONDON)
Proper Music Distribution is now the largest truly independent, full service distributor of music on all formats in the UK. The Royalty Accountant role exists to make sure that the companies’ contractual royalty obligations are interpreted accurately and on time.

For more information including a full job description and how to apply click here.
   
KOBALT MUSIC GROUP - PROJECT MANAGER (LONDON)
Kobalt Label Services is looking for a Project Manager to join the UK Marketing Team. We are expanding our UK Marketing team to include a new Project Manager responsible for managing relationships with a wide range of clients, from emerging to established artists, both UK-based and international, as well as record labels and catalogue owners.

For more information including a full job description and how to apply click here.
   
PARTISAN PR - PUBLICIST (LONDON)
Partisan PR is seeking an online and print publicist. We require a quick witted, resourceful applicant with impeccable writing skills, a great, no-nonsense ear for new music and the adaptability and initiative to thrive working across the shifting landscape of social, online and print media.

For more information including a full job description and how to apply click here.
   
SENTRIC MUSIC - CATALOGUE ADMINISTRATOR (LIVERPOOL)
Sentric Music are looking for a Catalogue Administrator to join the Rights Management team based in our Liverpool office where they will help manage sub-published catalogues.

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
 
 
A guide to upcoming events from and involving CMU, including seminars, masterclasses and conference sessions from CMU Insights and workshops from CMU:DIY, plus other events where CMU journalists are speaking or moderating.
 
13 Jun 2016 CMU Insights Seminar: How Music Rights Work
CLICK FOR INFO
15 Jun 2016 CMU Masterclass: Music Business Explained - For Brands
CLICK FOR INFO
20 Jun 2016 CMU Insights Seminar: How Music Licensing Works
CLICK FOR INFO
27 Jun 2016 CMU Insights Seminar: The Music Rights Sector
CLICK FOR INFO
4 Jul 2016 CMU Insights Seminar: Merch, Live & Brands
CLICK FOR INFO
6 Jul 2016 CMU Masterclass: Navigating The Digital Market
CLICK FOR INFO
11 Jul 2016 CMU Insights Seminar: Building A Fanbase - Social Media Tools
CLICK FOR INFO
18 Jul 2016 CMU Insights Seminar: Building A Fanbase - Music Media
CLICK FOR INFO
25 Jul 2016 CMU Insights Seminar: Building A Fan-Orientated Business
CLICK FOR INFO
 

Troy Carter steps away from artist management to join Spotify
Artist manager and entrepreneur Troy Carter is heading for a senior job over there at the Spotifys. And why not, I say. Get in there and play with that borrowed billion before it all runs out and you've suddenly got those pesky city types busy having opinions about everything you do. Just ask Team Pandora, that's no fun whatsoever.

Probably still best known for managing Lady Gaga during her rise to fame, Carter has managed a number of artists over the last fifteen years, most recently including Charlie Puth, Kamasi Washington and Meghan Trainor. Meanwhile his Atom Factory business, alongside artist management, has invested in and supported an assortment of start-ups, especially in the tech domain, and including Spotify.

In his new role at the streaming music firm, Carter will be Global Head Of Creator Services, and it's believed that will involve securing artist exclusives and creating original content. Confirming his new job, Carter said on Facebook last night: "I'm a firm believer that Spotify is the future for music. In my new role [there], my job is just a natural continuation of what I've always done - protect the voice of artists. Always have and always will".

Atom Factory will continue to operate in the start-up space, with Carter stating that "my team will stay in place to run our tech, culture and hustle outlet Smashd.co as well as launch a brand innovation agency. And through Smashd Labs and Cross Culture VC, I'll still continue investing in great founders that have the ability to deliver next wave disruption to culture".

Though, on the artist management side, according to Billboard, Carter will step away from managing Trainor, who will join the roster of Jeffrey Azoff's new Full Stop Management, to date best known for taking on the management of Harry Styles' solo career.

Carter adds in his Facebook post: "After fifteen years of talent management, I've decided that it's time to explore new roads. I'd like to thank all of the artists that gave me such an incredible opportunity by entrusting me and the Atom Factory team with their careers: Eve, Lady Gaga, John Legend, Meghan Trainor, Charlie Puth, and many many others. THANK YOU!"

Judge approves speedy timeline to assess claims of possible Prince heirs
A judge in Minnesota overseeing the estate of Prince has approved a speedy timeline for assessing the claims of individuals who say they have a family connection to the late musician. No will has surfaced as of yet, meaning the courts will have to decide how best to distribute Prince's fortune, which means assessing the claims of all and any possible heirs.

Judge Kevin Eide has approved a process proposed by the trust overseeing the estate, which requires existing claimants - which include the musician's sister, several half-siblings and a man who claims to be Prince's son - to file sworn statements by Friday. Any new claimants must come forward and will have a week to complete a three-page questionnaire asking for details of their claim.

A special administrator will then assess within three days whether each individual's claim of a family relationship to Prince can be established through available paperwork like birth certificates, or whether a DNA test will be required to confirm a genetic relationship.

With that process now approved and underway, the next court hearing to consider Prince's estate will take place on 27 Jun.

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

Terra Firma returns to court to accuse Citigroup over its 2007 EMI acquisition
OK, old timers, here we go again.

Remember EMI? It was a record company and music publisher. Remember Guy Hands? He was the city geezer who bought it in 2007. Remember Terra Firma? That was the geezer's private equity firm, which had grand plans for the British major that consisted mainly of running the whole operation into the ground. Remember Citigroup? That was the bank that tricked the old Guy into pissing his cash up the EMI tree to start with.

Or did it? Well, no it didn't, if you believe a 2010 ruling in the New York courts, where Hands was unsuccessful in suing the wanker bankers at Citi over his claim that its executives misled him during the EMI sale in 2007. Among other things, the Terra Firma chief claimed that Citi man David Wormsley lied about another bidder for EMI, which made Terra Firma rush to a decision to acquire the music company.

Citigroup was also working for EMI at the time, and stood to gain from the massive loans it provided to help fund the deal. It was the massive and highly public Citi loans, which helped finance Hand's audacious EMI acquisition, that ultimately led to the major music firm's downfall, even more so that the misguided buffoonery of the Terra Firma twonks. Post-credit crunch Hands couldn't restructure the debt, leaving him with one massive and increasingly tetchy creditor, which ultimately repossessed the business.

Although Citi prevailed in the 2010 court case, an appeals court subsequently ordered a retrial, stating that Terra Firma's EMI purchase was an English deal subject to English law, and some technicalities of the English legal system had not been properly handled in the New York courtroom. Eventually everyone agreed that, with all that in mind, it was probably better to stage take two of this dispute in an English court.

That was agreed in, erm, October 2014, with June 2016 then being set as the date for the initial hearing in London, because those city boys have very busy diaries don't you know. And so, it is, that Hands, now somewhat removed from his disastrous dabblings with the music industry, is set to return to court to again accuse Citi of tricking him into buying bloody EMI.

In the 2010 case, his testimony consisted mainly of a discussion about biscuits. Well, OK, maybe that's the only bit we remember, but in this new hearing we expect to hear both the key allegations made in 2010 against Wormsley and the big bad bank, and some extra claims too. It's also worth noting that the Worm isn't the only accused banker this time, with other then Citi execs also named as defendants.

Ahead of the new court case, a spokesperson for Terra Firma told Billboard: "This is a new trial, with new evidence and new allegations of fraud against Citi regarding the sale of EMI. We look forward to an English court considering these serious claims under English law. We will not comment further at this time".

In addition to alleging that Citi misled Hands about another bidder for EMI, forcing him to bid too early and too high, Terra Firma will also claim that the bankers gave it false assurances about the financial health of the music company as of 2007. The equity types will also present emails sent between Citi execs at the time of the sale seemingly concluding that Hands had just done a dud deal, unless he had some secret knowledge not possessed by the bankers.

The emails include things like "Well done! I am amazed you got them to pay up for that old pup", and "thanks - can't imagine why Guy bought it - he must have a Machiavellian plan", and "at long last you sold the pig". Given these viewpoints within Citi HQ, Terra Firma will argue, why wasn't Hands cautioned by his advisors at the bank.

Citi will deny all of Terra Firma's claims, and has already dismissed the emails presented in pre-trial evidence as being between bankers not involved in the financing talks back in 2007. The new court hearing will get under way later today and is expected to run for about six weeks. Those tuning in will have to provide their own biscuits.

Armonia appoints first CEO
What with its latest expansion last week, thanks to French collecting society SACEM doing a new deal with Canadian counterpart SOCAN, the Armonia alliance of European song right collecting societies has now appointed its first CEO. Virginie Berger, founder of French tech and media consultancy DBTH, will take up the role on 1 Jul.

As previously reported, Armonia brings together SACEM in France, SACEM Luxembourg, SGAE in Spain, SIAE in Italy, SPA in Portugal, SABAM in Belgium, Artisjus in Hungary, SUISA in Switzerland and AKM in Austria to collectively manage the licensing of multi-territory digital services, and the processing of streaming data and royalties.

"Armonia has already been successful in agreeing multi-territory licences with digital service providers and it has created a market-leading technology platform for music processing", says Berger. "This strong foundation is attracting new national collecting societies and mandates from across the globe, making Armonia even more attractive as a single point of contact for digital service providers".

She continues: "I look forward to building on this virtuous circle of success so that we enable niche musical cultures to thrive in the global marketplace. Part of my mission will be to build support for innovative digital music businesses by providing a roadmap to licensing, so that it is easier and faster for them to provide a large and diverse repertoire to consumers, while ensuring a fair deal for everyone involved through simplicity and efficiency".

SACEM CEO Jean-Noël Tronc adds: "Virginie's experience of working for innovative digital businesses will provide her with the insight and experience to help drive Armonia forward by further building its membership and speeding up multi-territory negotiations with digital service providers".

Founded in 2012, Armonia currently has seven multi-territory licences with digital platforms in place, with five more currently in negotiation.

SFX sells Flavorus to Vivendi
SFX is on a roll now. After some false starts, it has managed to offload a second asset, as the EDM firm continues in its attempt to climb its way out of bankruptcy.

True, it's basically the same buyer as the first asset sale, in that Universal Music bought digital marketing agency FameHouse, and now Universal's parent company Vivendi has bought ticketing business Flavorus. Perhaps Vivendi/Universal should have just bought the whole of SFX. After all, the problem with small scale ticketing companies is you sign up a bunch of festivals, and then Live Nation buys up those festivals and switches them to Ticketmaster.

Anyway, Vivendi, which has been quietly growing its ticketing business in recent years, has bought Flavorus for $4 million, and it will now sit alongside the entertainment conglom's
other ticketing companies, See Tickets and Digitick. The sale price is apparently minus any Flavorus debts still outstanding at the point the sale is completed. Although, according to IQ, court documents state that these debts are "expected to be $0".

That may not be good news for cloud computing firm Salesforce, which attempted to block the sale of Flavorus last month until it could be assured that it would be paid over $300,000 in outstanding payments.

BBC announces Glastonbury coverage
The BBC has announced that its Glastonbury TV coverage later this month will be slightly down on previous years. Although with 25 hours scheduled over three channels, down from 30 hours over the last two years, you'll probably be alright. There will also be 60 hours of coverage across BBC radio stations.

There will be TV coverage of six stages across BBC Two, BBC Four and on 'The One Show' on BBC One. Part of the reason for the dip in coverage is the loss of BBC Three as a broadcast channel, of course.

The event will also be the first big test of the new BBC Music app, through which users will be able to watch full sets of certain acts, as well as highlights from elsewhere at the festival.

"Glastonbury promises to be a magical weekend, especially this year with so many homegrown performers, including Jeff Lynne, Adele, Muse and Coldplay", says Director of BBC Music Bob Shennan. "If you can't make it to Worthy Farm, BBC Music will bring you the cream of the festival, whether you're at home or on the move".

Further details of the BBC's Glastonbury coverage can be found here.

CMU@TGE: Getting more from YouTube
Look out for insights, advice and viewpoints dished out at this year's CMU Insights @ The Great Escape conference here in the CMU Daily throughout June. This week, some of the takeaways from the YouTube focused strand.

We've increasingly heard from across the music industry over the last two years, and particularly in the last twelve months, that YouTube is not pulling its weight when it comes for paying royalties on music. Earlier this year, Metallica and Red Hot Chili Peppers manager Peter Mensch famously said that his artists "don't get paid at all".

In a presentation as part of the CMU Insights @ The Great Escape's 'What if YouTube really is the future?' strand, Rebecca Lammers - founder of the Laika Network, an MCN that manages YouTube activity for Pink Floyd, Phil Collins, The Beatles and around 150 up-and-coming musicians - outlined how artists can ensure that they are making money from their content on YouTube.

She noted that there is no per-stream rate on the Google-owned platform - the site only shares revenue earned from adverts displayed against a video. Therefore, monetisation relies on whoever uploads a video agreeing to have adverts alongside that content, and then Google's sales team selling enough ads.

Seasonal factors have a big impact on those sales, December being the month most YouTube uploaders find brings in the highest level of income, as advertisers spend more money in the run up to Christmas. Equally, there are times of the year when advertising dips.

There are two ways to earn from YouTube, of course. The easiest is to join YouTube's partner programme, which allows you to place adverts on your own YouTube channel. The second is ContentID, which allows users to monetise or block user-generated content that contains their music. UGC often has higher play counts than official videos, so can be a key revenue generator. However, it is also where confusion can arise.

"To collect UGC royalties, you need to sign up to an MCN, or get your label or distributor to collect money on those videos", explained Lammers. "Companies with access to ContentID include record labels, distributors, publishers, MCNs and, occasionally, but rarely, certain artists may have access to it as well".

"We've found that, with artists that go through labels or distributors, they quite often outsource the YouTube work to that label or distributor, on both their YouTube channel, and with monetising through ContentID", she continued. However, she added, artists often miss out on income from YouTube if that label or distributor fails to push more lucrative advert types against their content.

"I really want to hammer this home, if you are not ticking all the boxes when you upload a video to YouTube, then you are not maximising monetisation", said Lammers. "If you're not telling them, 'I want all these ad formats to be served on these videos', you are not going to be monetising. I've come across a lot of different situations where people have been pointing fingers, thinking it's YouTube's fault, and really it's the fault of the marketing assistant at the label, who didn't tick the boxes when he uploaded the video to the YouTube channel".

"This is a primary thing that most people overlook and is the primary reason that a lot of people don't monetise", she stressed.

Another issue can then arise once the money does start to come in, she added: "A lot of labels and distributors, we've often found, are not processing the reports correctly; so that's something you would want to have a discussion with your label or distributor about, to ensure that they are doing that properly".

Once there are adverts placed against your videos, the next step is to get people watching them, in order to generate that income. In that regard, says Lammers, "the music industry is quite guilty of not necessarily following the same marketing practice that a lot of the successful YouTubers and vloggers have followed".

"A lot of musicians are seasonal, so they might upload for a certain period during an album release, but then they go into the studio and they're not doing anything", she noted. "This is actually really bad in terms of you being able to monetise on YouTube and to grow a fanbase as well. You need to be constantly uploading on a regular basis - it doesn't have to be every day, it doesn't have to be every week, but it needs to be consistent".

Also, as a lot of artists don't manage their own YouTube channels, "they're not replying to fans' comments, and that is really key to engaging with your fanbase online".

"You definitely can make money from YouTube, there is definitely lots of money out there, but don't expect for make millions from day one", she concluded. "Most of the time I see more than just pocket change once you hit half a million views, or if you have over 20,000 subscribers on your channel and you're regularly uploading videos".

  Approved: Ida Long
Ida Long's concurrent work as musician and an artist are both striking on their own, and elevate to another level when combined. To date she has released four singles from her latest album, 'Rainbows & Tears': '(I Get So) Dramatic', 'We Got', 'Baby Gone' and most recently 'Mannen På Taket', her first single in her native Swedish.

The video for each track has its own distinct visual style to accompany the music, not least 'Mannen På Taket', which sets stark dancemoves and monochrome outfits against the rippling music, underpinned by cello drones and piano. The song's delicate frame is hammered by hefty percussion on its chorus, along with a bassline that bubbles up through the gaps.

Watch the video for 'Mannen På Taket' here.

Stay up to date with all of the artists featured in the CMU Approved column in 2016 by subscribing to our Spotify playlist.
CLICK HERE to read and share online
 

Angel Olsen announces new album
Angel Olsen has announced that her third album 'My Woman', the follow-up to 2014's 'Burn Your Fire For No Witness', will be released on 2 Sep.

The album deals with "the complicated mess of being a woman", says Olsen. "I'm definitely using scenes that I've replayed in my head, in the same way that I might write a script and manipulate a memory to get it to fit. But I think it's important that people can interpret things the way that they want to".

Following the release, Olsen will also be touring the UK. Here are the dates:

13 Oct: Brighton, Concorde 2
14 Oct: Manchester, Club Academy
15 Oct: Glasgow, SWG3 Studio Warehouse
16 Oct: Bristol, The Marble Factory
17 Oct: London, Koko

And here's a teaser video featuring a decent portion of first single 'Intern'.

Trim, Of Montreal, AlunaGeorge, more

Other notable announcements and developments today...

• The next release on James Blake's 1-800-Dinosaur label will be a twelve-inch from rapper Trim, with the A-side 'RPG' produced by the label boss himself.

• Of Montreal announced last week that they'll release a new album, 'Innocence Reaches', on 12 Aug. Here's the single, 'It's Different For Girls'.

• Bishop Nehru has released new mixtape 'Magic 19'. Listen here.

• Girli has released new single 'Too Much Fun'. She'll play The Garage in London on 12 Jul, but it's already sold out.

• Ekkah have released a new Dâm Funk-produced single 'What's Up'.

• Bis's Sci-Fi Steven has released another single via his Batteries solo project. Here's 'Pankhurst'. He'll play his first ever London show as Batteries at The Lexington on 17 Sep too.

• AlunaGeorge will play The Scala in London on 21 Jun, the night before their Glastonbury performance.

Abba reunite (briefly)
All four members of Abba performed together for the first time in more than 30 years at a private party on Sunday night. Only briefly mind, but let's start the rumour that they're going to headline Glastonbury next year anyway.

The party in Stockholm was held to mark the 50th anniversary of the day Björn Ulvaeus and Benny Andersson met, leading to their successful songwriting partnership. The other half of Abba, Agnetha Fältskog and Anni-Frid Lyngstand, were in attendance and got up on stage to perform the band's 1980 song 'You & I'. Towards the end of the song, Ulvaeus and Andersson joined them on stage to sing. Reunion!

"It was absolutely amazing", Lyngstand told Swedish newspaper Expressen. "A lot of emotions. We've made this journey throughout our history. Benny and Björn in particular. It's been very nostalgic".

The four members of the group previously reunited on stage - though not to sing - at the opening of Stockholm restaurant Mamma Mia! The Party earlier this year.

 
ANDY MALT | Editor
Andy heads up the team, overseeing the CMU bulletins 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, and advising on CMU Insights training courses and events.
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.

For details of the training and consultancy services offered by CMU Insights click here - Andy and Chris are also available to provide music business comment, just email them direct.

To promote your company or advertise jobs or services to the entire UK music industry via the CMU bulletin or website contact Sam on 020 7099 9060 or email ads@unlimitedmedia.co.uk
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