TODAY'S TOP STORY: The collecting societies representing song rights saw the monies they collect worldwide rise by 6.8% to 8 billion euros last year - a jump in part fuelled by a 52% increase in digital income - according to new figures published by CISAC today... [READ MORE]
As the UK's Music Managers Forum publishes two new guides as part of phase three of its 'Dissecting The Digital Dollar' programme, CMU Trends summarises what we've learned from the project so far in 30 points - ten from part one, ten from part two, and ten from the new guides. Along the way we cover digital licensing, all the key issues with the current streaming business model, and what you need to know about label deals and transparency in the streaming age. [READ MORE]
There has been lots of debate around the music rights data problem in recent years, and a number of initiatives are underway to tackle the issue. Though Spotify's mechanical royalties dispute and the lack of songwriter credits on the streaming platforms shows the problem persists. As Music 4.5 puts the spotlight back on all things data, CMU Trends reviews discussions to date, challenges to be met, and where progress is being made. [READ MORE]
Copyright provides creators with control over that which they create, but what happens when the creators themselves don't own the copyright in their work? Artists and songwriters who are no longer in control of their copyrights do still have some rights, sometimes by contract, and via performer and moral rights. CMU Trends considers what the law says about the rights of artists and songwriters after their copyrights have been assigned. [READ MORE]
TOP STORIES 52% digital boom helped song right societies collect 8 billion euros in 2016
LEGAL Austrian Supreme Court backs web-blocking
LABELS & PUBLISHERS BMG hires Tom Briery to oversee US recorded music operations
Ditto Music announces new global expansion
DIGITAL & D2F SERVICES YouTube announces Ticketmaster tie-up
Warner Music signs up with African digital service Mdundo
GIGS & FESTIVALS George Ezra announces Mind fundraiser
AWARDS One Love Manchester team honoured at AMAs
ONE LINERS Warner Music, Björk, Marilyn Manson, more
AND FINALLY... Brian May got a takedown notice and he's not happy
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Enforcing Music Rights - Safe Harbours And Piracy
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52% digital boom helped song right societies collect 8 billion euros in 2016
The collecting societies representing song rights saw the monies they collect worldwide rise by 6.8% to 8 billion euros last year - a jump in part fuelled by a 52% increase in digital income - according to new figures published by CISAC today.

CISAC, of course, brings together the collecting societies representing songwriters and music publishers from all around the world, and its annual Global Collections Report combines stats from all of its member organisations. And while it only includes income that moves through the collective licensing system, because the collecting societies are involved in most (though not all) aspects of the songs side of the music rights industry, the CISAC stats do provide a decent overview of the wider songs business.

Though to confuse things ever so slightly, CISAC also includes some collecting societies that represent non-musical copyrights - such as visual art and literature - and their revenues are also featured in the report. When you take all of that income into account as well, global royalty collections by CISAC affiliated societies topped 9.2 billion euros in 2016, a 6% increase year-on-year.

Across all its member societies, digital income was up 51.4% at just under 1 billion euros. CISAC notes that the boost mainly came from premium streaming services, and could have been more had it not been for the low royalties paid by CERTAIN VIDEO PLATFORMS. By which, of course, it means YouTube. Fucking YouTube. Value gap, value gap, blah, blah blah. Or, if you prefer, transfer of value, transfer of value, blabla blabla blabla, as that Jean-Michel Jarre might say.

That said, digital is one area where CISAC figures don't provide a full picture, because the big five publishers have direct relationships with the streaming platforms for their Anglo-American repertoires in at least some markets. Where that is the case, not all the song right royalties paid by the streaming services flow through the societies. And in the US - while stats from rights agency HFA are included - the payment of mechanical royalties is such a fuck fest, who knows what's going on there?

In terms of regional trends, the US market is, unsurprisingly, the biggest overall, despite the main two performing rights organisations there being arguably over-regulated which likely results in at least some licensees paying lower rates. Nevertheless, US collections totalled 1.76 billion euros, with digital income up 80% year-on-year.

In Europe - which in terms of continental regions is the biggest, accounting for 56.8% of all collections - royalties paid for the live and public performance of songs outperformed broadcast income for the first time, perhaps demonstrating the good health of live music.

As for emerging markets, monies are up, though in many countries copyright regimes are still in catch-up mode. CISAC reckons that in China, where collections are currently 23 million euros, only 105 of more than 2000 radio and TV stations currently pay any royalties at all for the music they use. If the entire broadcasting industry became properly licensed, tens of millions in extra revenue would be unlocked.

Commenting on all this gubbins, CISAC boss Gadi Oron says: "This year's report shows the system of collective management of creators' rights is robust, successful and ready for more growth. The big traditional revenue streams, led by broadcast and live performance, remain stable and strong. Digital royalties continue to surge and in some markets already overtake other forms of income. The figures we're releasing today reflect our societies' relentless effort to be more efficient and innovative, and drive income growth".

As for CISAC's President, which is that there Jean-Michel Jarre, he adds: "This is a vast sector of cultural and economic activity, worth an amazing nine billion euros worldwide. Despite its growth, however, collections are nowhere near the level they should be. Large industries that use creative content are driving down the value of our works. A simple illustration of this is the 'transfer of value' in the digital market where platforms such as YouTube are paying mere crumbs to authors. There is no greater priority that we ask from governments today than a solution to the transfer of value".


Austrian Supreme Court backs web-blocking
Hey Austria, how you doing, welcome to the web-block party. What took you so long? I'm afraid we've already eaten all the pizza, but there's still some slightly stale garlic bread on top of the piano.

So, yes, Austria has joined the web-block party, with internet service providers in the country being forced to block their users from accessing the big bad Pirate Bay, and some other piracy sites too. This follows a ruling in the Austrian Supreme Court.

Those of you paying particularly good attention might remember Austria rocking up at this here web-block party once before, in 2015. And you'd be right to remember that. But it was ejected in 2016 when an earlier web-block injunction against TPB was overturned on appeal at the Vienna Higher Regional Court, following objections from the tech sector.

However, the local music industry, which had initially secured the web-blocks in 2015, vowed to appeal the appeal. And now the Austrian Supreme Court has ruled in its favour. In part citing recent rulings in the European courts over web-blocking squabbles in the Netherlands, another country where the net firms decided to fight the popular anti-piracy tactic, rather than just moaning for a while and then getting on with quietly blocking a bunch of sites.

Music and movie companies now regularly seek web-block injunctions in numerous countries where local copyright laws provide for such things, and we can probably expect rights owners to now seek additional blockades in Austria.

Of course, web-blocking is by no means a perfect anti-piracy measure - it's usually pretty easy to circumvent the blockades - but the entertainment industry insists that it is nevertheless a useful tool as part of its wider anti-piracy efforts.


BMG hires Tom Briery to oversee US recorded music operations
BMG in the US has appointed Tom 'Grover' Biery - the former Warner Music exec, most recently with Concord Music Group - to the role of EVP Recorded Music. In his new job he will oversee BMG's American recorded music teams with the task of "further building the company's scale in recordings". And why not?

In his new job he will report into Zach Katz, BMG US's President Repertoire & Marketing, who said of the hire: "Grover is a heavy hitter with a wealth of experience navigating the new music business in both streaming and value-added physical formats. We look to him to help guide our Los Angeles and New York teams to new heights as we pursue our strategy of giving proven talent the attention it deserves while also seeking breakout successes".


Ditto Music announces new global expansion
DIY music distributor Ditto Music has announced some of that global expansion all the cool kids keep talking about, adding an active presence in no less than twelve new countries plus a multilingual website. I wonder if digital licensing is any less complex in Swedish.

"Artists are moving away from major label deals and towards independence", reckons Ditto Music boss man Lee Parsons. And why? Well, "because companies like Ditto give them more attention, better terms and more revenue". He adds: "I'm excited how the huge milestones happening at Ditto right now will benefit musicians worldwide".

In terms of countries, UK-based Ditto has new reps in Sweden, Brazil, Mexico, Philippines, South Africa, France, Argentina, Chile, India, Canada, South Korea and Spain, in addition to its existing bases around the world. And, it says, plans are afoot to add an active presence in ten more countries next year.


YouTube announces Ticketmaster tie-up
YouTube, as I'm sure you all know by now, understands "the importance of helping artists find ways to build deeper connections with their fans". How do we know? Because it just said so, that's how. And who doesn't love a deeper connection with their fans? No one, that's who. The deeper the better I say. Aim for the magma.

But how to get that deeper connection, that's the challenge isn't it? Worry not, YouTube has identified a solution. Sell em tickets to your gig! See, it's simple now they've said it, but you'd have never have come up with that in a month of Tuesdays. And no such month exists.

Having identified this killer solution, YouTube has teamed up with Ticketmaster to flog tickets to gigs alongside its videos. "We've been experimenting with ways we can offer a ticketing experience to fans", says the Google video site, "and we're excited to announce our first ticketing partnership with Ticketmaster".

"Starting today, we will begin featuring hundreds of artists' upcoming US tour dates on their YouTube videos", it goes on. "Fans enjoying an artist's official music video on YouTube can now learn about upcoming concert listings and, with a simple click, go to Ticketmaster to purchase tickets". Wow, simple clicks, genius!

The Google site's latest grand "stop moaning about your royalties and we'll help you sell stuff" strategy (it's dabbled with this before), will ultimately roll out around the world, while YouTube adds that it also plans "to find additional ways to make meaningful fan and artist connections". Additional ways! Crazy stuff. They'll be helping artists sell t-shirts next.


Warner Music signs up with African digital service Mdundo
Warner Music has signed up with African digital music platform Mdundo. The deal will make the mini-major's catalogue available on the Mdundo service in Kenya, Tanzania, Uganda and Nigeria.

Confirming the arrangement, Mdundo's CEO Martin Nielsen told reporters: "There's a huge demand among African music fans for international, as well as local, repertoire. This deal makes our service more attractive and that will benefit our users, our African musicians and our commercial partners".

Mdundo currently claims two million monthly active users across its platform, that offers both download and streaming options, though Warner's deal only covers streaming. It has both ad-supported and paid-for options, and says it already has music from over 40,000 African performers in its system.


Approved: Mai Lan
M83 collaborator Mai Lan has released a smattering of tracks to date, which drift between confident cool pop and wide-eyed barked instructions. Firmly in the latter camp, last year's 'Technique' remains the high watermark of her material to date.

Following on from the release of her excellent 'Vampire' EP earlier this year, she's now back with new single 'Blaze Up'. Taken from her upcoming new album - the follow-up to her 2012 debut - the track leans more on the cool pop side of her character, but is instilled with plenty of the left-of-centre tweaks that make her such a compelling artist.

The new album, 'Autopilote', is due out on 19 Jan. Listen to 'Blaze Up' here.

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

George Ezra announces Mind fundraiser
George Ezra has announced that he will play a show in aid of mental health charity Mind next month, at London's Union Chapel. As well as performing himself, he will also play host to a number of still to be announced special guests.

Ezra began officially supporting Mind earlier this year, collecting donations at shows on his recent tour dates in June. He also presented a gong at the Mind Media Awards this week.

"The idea behind this event all started on tour earlier this year where we were collecting for Mind at each show", says Ezra. "My supporters and fans helped to raise over two thousand pounds in just over two weeks, which I'm hugely grateful for. Following the response, I thought it would be great to round off the year with a special event in aid of Mind".

He continues: "The Union Chapel is one of the most beautiful venues to play in London and the cause is a charity that I believe are doing truly great things. The night will be a warm and cosy celebration of music and community".

Tickets for the show on 8 Dec will be available via ballot. Registration will open at at 9am on Friday, and will close at 5pm on 22 Nov.


One Love Manchester team honoured at AMAs
The team behind the special One Love Manchester show, that took place earlier this year following the bomb attack on the Manchester Arena, were presented with the Industry Champions prize at the Artist & Manager Awards in London last night.

The UK's Music Managers Forum and Featured Artist Coalition handed the award to Ariana Grande, her manager Scooter Braun, and promoters Melvin Benn and Simon Moran, in recognition of the high profile televised benefit concert that was put together in mere days as Manchester, and the world at large, came to terms with the terrorist attack that had occurred at the conclusion of one of Grande's concerts in the city.

In a video message screened at the awards event, Braun paid tribute to the people of Manchester, insisting the award was for the entire city. He said: "Although this is incredible, I want us to remember that the city of Manchester and all those families are the real heroes. 60,000 people of Manchester came forward and filled that stadium".

He added: "It was the greatest act of defiance in the face of evil that I've ever witnessed, and I will never ever forget it. On behalf of myself, Ariana and the rest of the team, I want to say to the city of Manchester 'thank you' - this is your award tonight, and you have taught us all a valuable lesson. Evil will never win".

Commenting on the award, MMF CEO Annabella Coldrick added: "The terrorist attack at Ariana Grande's Manchester Arena show was one of the year's darkest moments, targeting young music fans and their families. It left 22 dead and more than 250 injured".

She went on: "To organise a concert in their memory, and to turn it into a joyous celebration of youth and music, was an incredible achievement. The MMF and FAC are humbled to honour the team behind One Love Manchester, and would like to dedicate this award to all those still impacted by the events of 22 May".

The Industry Champion prize was one of eleven handed out at the AMA event last night. The full list of winners is as follows:

Manager Of The Year Award: Tap Management
Writer/Producer Manager Award: Jill Hollywood, Echo Beach Management
Breakthrough Manager Award: Kilo Jalloh & Moe Bah, 2K Management
Peter Grant Award For Lifetime Achievement: Jonathan Kessler

Artist Of The Year Award: Rag N Bone Man
Breakthrough Artist Award: Tom Misch
Artists' Artist Award: Tracey Thorn

Entrepreneur Award: Niamh Byrne & Regine Moylett, Eleven Management
Pioneer Award: Giggs, Michael 'Buck' Maris & Trenton Harrison-Lewis
Unsung Hero Award: Jon Webster
Industry Champion Award: Ariana Grande, Scooter Braun, Simon Moran, Melvin Benn


Warner Music, Bjiork, Marilyn Manson, more

Other notable announcements and developments today...

• Warner Music's currently London-based SVP Of Global Marketing is relocating to Sydney to become GM for Warner Music Australia and SVP Marketing for the major's Australasia division. "Beth has proved to be an outstanding member of our global team", says Warner's CEO of International Stu Bergen.

• Björk has released a new single, 'Blissing Me'. Her new album, 'Utopia', is out on 24 Nov.

• Marilyn Manson's released the video for 'Kill4Me' from his latest album, 'Heaven Upside Down'. It's got Johnny Depp in it.

• Toddla T has released the video for 'Foreign Light', the title track from his latest album, released in July. "It's a special song for me, the instrumental was crafted in my West London studio with [Arctic Monkeys'] Matt Helders", says the producer. "We kept it steel with Coco, and Andrea Martin delivered the concept which became the title to my latest LP".

• Bdy_Prts have released the video for 'Take It To The Top', the latest single from their upcoming debut album 'Fly Invisible Hero'.

• Tune-Yards have announced UK tour dates in March next year, which will follow the release of new album, 'I Can Feel You Creep Into My Private Life', on 19 Jan. The shows will conclude with a performance at The Roundhouse in London on 20 Mar. Tickets are on pre-sale via Spotify now, and will go on general sale on Friday.

• Ezra Furman has announced UK and Ireland tour dates for February and May next year, including a performance at Brixton Academy on 23 May. Furman's new album, 'Transangelic Exodus', is out on 9 Feb.

• Shakira has cancelled her upcoming European tour due to a vocal cord haemorrhage. Here's an interesting article about that sort of thing.

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


Brian May got a takedown notice and he's not happy
Brian May has received a takedown notice and he's not happy about it. All he did was post a photo on his Instagram account and went to bed. Then the next day, it had been taken down just because he didn't own that photo. The cheek!

"Well this is what I woke up to", he wrote, posting a screengrab of the notice informing him of the copyright violation. Although he was only able to make that post after his account had been reinstated, it having been temporarily taken down by Instagram because of the copyright breach. "How RUDE! I'm usually very careful to credit anyone whose photos I post - but in this case, at the end of the day, I must have forgotten".

He continued: "Rather than write to me and say, 'Dear Brian, you seem to have forgotten to credit me on this picture', this person - Barbara Kremer is her name - reported me to Instagram and they not only took the picture down but disabled my whole account until I'd dealt with the issue - which took about 45 minutes of my time that I could not afford because the link refused to work on my phone".

It's not clear exactly how this takedown notice came to be served to May. Or whether the photograph is a professional or amateur shot (at risk of offending Barbara Kremer further, it appears to be a photo taken by a fan from the audience). Though either way, the photographer, as the copyright owner, has the right to demand the picture be removed, credit or no credit. Unless there's some sneaky rules in the terms and conditions on Queen tickets.

Was he finished? No. "What an incredibly unfriendly act from you, Barbara! You not only took my picture and are evidently exploiting my image, and making money off me without so much as a 'by your leave' - but you actually stop me using a picture of myself! What a crazy world we live in these days. All I can say is that if you feel you were 'violated', I feel pretty violated myself. To the point where if I ever discover that you are at one of our concerts in future, look out, because, logically, I will be tempted to have you thrown out".

There is no evidence that Kremer is making any money from this photo - to date it has only appeared on Twitter and Instagram, which would suggest she isn't. And she didn't actually say she felt "violated", Instagram did. He's right though, he is in the photo.

Back in 2012, May joined Simon Cowell, Robert Plant, Roger Daltrey, Elton John and others in writing to then Prime Minister David Cameron asking him to improve UK copyright law for the British creative industries and stamp out online piracy. In particular, the letter talked about implementing the sanctions against those uploading content to the internet without permission that had been outlined in the 2010 Digital Economy Act. Seems he's less keen on that sort of thing now.


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.
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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.
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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.
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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.
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