TUESDAY 5 MAY 2020 COMPLETEMUSICUPDATE.COM
TODAY'S TOP STORY: The International Federation Of The Phonographic Industry yesterday confirmed that 2019 was another year of growth for the global record industry thanks to the ongoing streaming boom. We already knew that, of course, but now we have stats. Global stats! And who doesn't love global stats? No one. I checked. Everyone loves global stats. Everyone... [READ MORE]
TOP STORIES IFPI confirms recorded music market grew 8.2% in 2019
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LEGAL Criminal trial over 2010 Love Parade stampede abandoned without conclusion
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DEALS Sony/ATV Nashville signs Gabby Barrett
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DIGITAL & D2F SERVICES SoundCloud launches Twitch channel
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MEDIA Bauer takes complete ownership of radio advertising company First Radio Sales
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EDUCATION & EVENTS SK Shlomo announces weekly beatboxing lessons for kids on lockdown
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ONE LINERS Mark Ronson, Sia, Tinie, more
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AND FINALLY... The Weeknd discusses American Dad episode, and new song I'm A Virgin
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Check out all the latest job opportunities with CMU Jobs. To advertise your job opportunities here email advertising@unlimitedmedia.co.uk or call 020 7099 9060.
   
SENTRIC MUSIC - SENIOR CLIENT MANAGER (LONDON OR LIVERPOOL)
Sentric Music Group is looking for a driven and personable Senior Client Manager with solid music industry knowledge to deliver a first class relationship and reporting service across clients of Sentric Music Group, coordinating all operational stakeholders involved in the delivery of service objectives.

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JUNO RECORDS - MUSIC AND REVIEWS EDITOR (LONDON)
Online vinyl and music equipment retailer Juno is looking for an experienced music and reviews editor to manage and develop its expanding online content.

For more information and to apply click here.
CMU Insights presents a special series of webinars for music people during lockdown providing insightful, easy-to-follow, super-timely guides to music rights, music marketing, the digital market, record deals, and much more.

The webinars are presented by CMU's Chris Cooke, who has trained thousands of artists, songwriters and music industry professionals all over the world. They are perfect for anyone working in or with the music industry who wants a solid understanding of the business of music, and where the industry is heading next.

The webinars will take place each Tuesday, Wednesday and Thursday at:
2.30pm UK TIME | 3.30pm CET | 9.30am EDT


We are currently taking bookings for fifteen Lockdown Webinars - full information below. Places are available at the special discounted rate of £20 per webinar - with further discounts for premium subscribers and/or if you book into multiple sessions.

CLICK HERE FOR MORE INFO AND TO BOOK PLACES
COLLECTIVE LICENSING EXPLAINED - GET PLAYED, GET PAID
Tuesday 5 May | BOOK TICKETS
Sometimes the music industry licenses through direct deals, other times it employs the collective licensing approach. Fully understand how collective licensing works - in the UK and around the world - in this user-friendly easy-to-follow webinar.
STREAMING EXPLAINED - HOW MONEY GETS SHARED
Wednesday 6 May | BOOK TICKETS
Streaming is a revenue share game, with digital dollars shared out each month between artists, songwriters, labels and publishers. We explain how the money is currently split up and talk through why some people in the industry believe a different approach is needed.
THE EVOLUTION OF CATALOGUE MARKETING
Thursday 7 May | BOOK TICKETS
In the same way the shift to streams has changed the way labels release and market new music, the way they monetise catalogue recordings has changed too. Probably more so. This webinar puts the spotlight on catalogue marketing and what it involves in 2020.
HOW SYNC LICENSING WORKS
Tuesday 12 May | BOOK TICKETS
How do sync deals work? This easy-to-follow webinar explains the ins, the outs and the complexities of the synchronisation business, outlining how music is licensed when it appears in TV shows, movies, games and ads.
STREAMING EXPLAINED - THE KEY CHALLENGES IN 2020
Wednesday 13 May | BOOK TICKETS
The global record industry continues to grow on the back of the streaming boom, though challenges remain in the streaming business. We outline and explain all the key challenges, and suggest what solutions may be employed by the services and the music industry.
GETTING THE MOST FROM FAN DATA
Thursday 14 May | BOOK TICKETS
What data is being gathered about the fanbases of the artists you work with and who has access to it? This webinar talks through the ten key categories of fan data, how artists can access and utilise it all, and where data protection law fits in.
AN ENGLISHMAN IN NEW YORK - WHY AMERICAN COPYRIGHT LAW IS JUST PLAIN WEIRD
Tuesday 19 May | BOOK TICKETS
While there are some basic principles that join up all the copyright systems around the world, there are also some key differences from country to country. And with American copyright law, some things are just plain weird. This webinar gives you an easy-access guide to at least five ways that US copyright is different to the UK and Continental Europe
STREAMING EXPLAINED - MUSIC INDUSTRY VS YOUTUBE (AND WHAT EVEN IS THE VALUE GAP?)
Wednesday 20 May | BOOK TICKETS
The music industry went to war with YouTube over safe harbours and the value gap. What does that even mean? And who is winning the battle? We look at 2019's controversial European Copyright Directive and what impact it will - or will not - have, and whether those reforms can - or will - be adopted by the US. Plot twist: maybe YouTube wasn't even the real problem.
WHY MUSIC MEDIA ISNT DEAD - YET
Thursday 21 May | BOOK TICKETS
It took the music business fifteen years to make digital work - and the process was painful. For the music media that pain is still real. In a world where everyone is an influencer and content is free, we look at how music media make money; what influence really means; how media consumption works for the Spotify generation; and what this means for the music industry.
MAKING MONEY FROM MUSIC COPYRIGHT
Tuesday 26 May | BOOK TICKETS
The music rights business makes money by exploiting the controls that come with the copyrights in songs and recordings. Get to grips with all the basic principles of copyright law and how music copyright makes money in this user-friendly easy-to-follow webinar.
STREAMING EXPLAINED - THE DIGITAL MARKET IN 2020
Wednesday 27 May | BOOK TICKETS
Streaming now accounts for more than half of recorded music revenues worldwide - and in many countries it's much bigger than that. Get fully up to speed on all the key trends and developments in the global streaming music market in this super timely webinar.
THE EVOLUTION OF RECORD DEALS
Thursday 28 May | BOOK TICKETS
The artist/label relationship has evolved a lot in the last fifteen years. Today artists have a much wider range of options when choosing a business partner to work on their recordings. This webinar explains that evolution and runs through the key deal types now available.
MUSIC RIGHTS DATA MADE SIMPLE
Tuesday 2 Jun | BOOK TICKETS
Getting songwriters and artists paid when their songs and recordings are played often comes down to whether or not the right data is in the system. But what data? This webinar runs through all the key data points and explains how to get information into the system.
STREAMING EXPLAINED - HOW DIGITAL LICENSING WORKS
Wednesday 3 Jun | BOOK TICKETS
The streaming business is complex in terms of how services are licensed, and how artists and songwriters get paid. Get to grips with it all via our concise user-friendly guide to digital licensing and streaming royalties - explained in full in just ten steps.
MUSIC MARKETING - TOOLKIT & TACTICS
Thursday 4 Jun | BOOK TICKETS
What are the tools, tactics, channels and platforms utilised by the music industry when promoting artists, releases and events in 2020? This webinar provides a speedy overview of the modern music marketing toolkit and the ten main tools inside.
Navigate and understand the music business with guides and reports from CMU...
NEW! The Evolution Of Record Deals In Ten Steps | CLICK HERE
A ten step guide to changes in the artist/label relationship
Digital Music Market In Ten Steps | CLICK HERE
A ten step guide to the digital music market today
Copyright Jargon In Ten Steps | CLICK HERE
A ten step guide to some key copyright terminology
The Anti-Touting Campaign In Ten Steps | CLICK HERE
A ten step guide to the campaign to regulate online ticket touting
CMU Trends Guide To Music Rights | CLICK HERE
The complete guide to copyright, music licensing and music rights revenues
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IFPI confirms recorded music market grew 8.2% in 2019
The International Federation Of The Phonographic Industry yesterday confirmed that 2019 was another year of growth for the global record industry thanks to the ongoing streaming boom. We already knew that, of course, but now we have stats. Global stats! And who doesn't love global stats? No one. I checked. Everyone loves global stats. Everyone!

I mean, look at this: a 22.9% increase in streaming revenues last year resulted in an 8.2% increase in total recorded music revenues which translates into $20.2 billion of cold hard cash for the wider record industry. There you go, some global stats. Love it!

As expected, streaming now accounts for more than half of total recorded music revenues. IFPI's 'Global Music Report' confirms that 56.1% of the monies that came into the record industry worldwide last year were from the big bad streaming services. Paid-for streaming brings in three times more than free streaming, with the premium services generating 42% of total monies and the free ad-funded platforms just over 14%.

As for the record industry's other revenue streams, physical still accounted for 21.6% of income worldwide last year, though a handful of key markets still skew that figure a little.

Downloads were down loads again, which is good news, because that gag never gets old. Download stores now account for 7.2% of money. Sync is bringing in about 2.4% of the cash. And the money from broadcast and public performance that comes in via the collective licensing system is 12.6% of revenue.

Interestingly - and somewhat surprisingly - that latter revenue stream, ie public performance, which has been quietly and steadily growing for some time now, was down 3.6% last year. Though, IFPI says, that's mainly because of "one-off settlements in 2018 which inflated the prior year's revenues". Take those out and this less talked about but increasingly important revenue stream continues to grow. Or at least, it was continuing to grow.

Public performance is one area where the COVID-19 shutdown could negatively impact on the record industry, given many bars and restaurants who pay royalties into the record industry's collecting societies are currently closed. And pessimists reckon a significant portion may never reopen. Plus the radio sector - also included in this category - has seen its ad revenues slump, and it's those revenues that the record industry usually shares in.

The IFPI itself actually kickstarts its whole 'Global Music Report' - launched this year without the usual fanfare - by noting how much the world has changed since the time period the stats in this report relate too, aka 2019.

Bragging about the record industry's return to the good times seems inappropriate in the context of the COVID-19 pandemic. All the more so given the crisis that pandemic has caused in the wider music community has reignited the debate over whether labels keep far too much of the money handed over by the streaming services each month, and the accompanying argument that more should be allocated to artists and songwriters.

And while the record industry is more immune to the impact of COVID-19 than most of other strands of the wider music business - chiefly because of the way the premium streaming business model works - that doesn't mean it's not being hit at all. Physical sales and any revenue streams linked to advertising will be negatively affected, in addition to public performance money.

In her introduction to the report, IFPI boss Frances Moore notes: "By its very nature, IFPI's annual 'Global Music Report' is retrospective. Featuring our uniquely global charts, financial results and reports on the people behind the music, it reviews the state of the recorded music sector for the prior year. As such, it was originally drafted prior to the global COVID-19 pandemic".

"The document you are reading shows the results of the successful work and investment of record companies and their artists", she goes on. "Today, as we issue the report, the world faces a pandemic that presents challenges unimaginable just months ago. In the face of this global tragedy, the music community has united behind efforts to support those affected by COVID-19. This is a critical and ongoing priority as our member record companies work to continue to support the careers of artists, musicians and employees around the world".

She concludes: "It has been heartening to see how music has helped once again to unite, inspire and heal. We see that music's timeless power, like the resilient strength of humanity itself, is a light even through difficult times".

But I lured you into this article with the promise of stats, not sombre reflections on the COVID-19 crisis. So here, have some more stats.

Regions wise, Latin America is still seeing the fastest rate of growth, with revenues up 18.9% last year, in part helped by a massive 40.9% growth in Argentina, one of the region's big three markets. The combined markets of the US and Canada were up 10.4%, while Europe saw increases of 7.1%. Which might seem rubbish compared to Latin America, but given the European record industry saw all most no growth in 2018, that's pretty good going.

As for the ten biggest recorded music markets overall, they remained unchanged in 2019, although the order in which they appear in the top ten list did alter a little. So the biggest ten markets - from biggest biggest to smallest biggest - go: US, Japan, UK, Germany, France, South Korea, China, Canada, Australia and Brazil. Lovely stuff.

And that, I think, is enough stats for now. In normal times the official summary of the IFPI's latest 'Global Music Report' would be the usual "woo, everything's great, well done labels, but don't forget about safe harbour and stream-ripping, boo to them".

But because of the COVID-19 pandemic, the main takeaway from the IFPI's latest stats pack is the same as the takeaway from every other set of stats you've seen in recent weeks. "Fuck knows". Have a good day everybody!

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Criminal trial over 2010 Love Parade stampede abandoned without conclusion
A German court has ended without conclusion a long-running manslaughter trial in relation to the stampede at the 2010 Love Parade event in which 21 people died.

The dance music festival, which was originally Berlin-based, but began travelling to different German cities each year in 2007, was taking place in Duisburg in 2010. The free event was always popular and - even though turnouts had fallen in preceding years - it was estimated by investigators that almost half a million people attended in 2010. The site's capacity, however, was just 250,000.

Despite the large number of people attending, crowds entering were funnelled through a single underpass, which quickly became crowded. On the Saturday morning of the event there was a surge in the crowd, which caused panic in the tunnel, followed by a stampede that left 21 people dead and hundreds more injured.

In 2014, ten people - including the event's organisers and city officials - were charged with negligent manslaughter and bodily harm in relation to the tragedy. It was alleged that failures in the planning process and event security had led to the crowd surge.

At the time Duisburg prosecutor Horst Bien told reporters: "Something happened on 24 Jul 2010 that should never have happened. We weren't looking to see who was morally or politically responsible but instead focussed only on who was criminally liable".

The trial in relation to those charges got underway in 2017. But last year prosecutors dropped their case against seven of the accused, with the three remaining defendants all working for the festival's promoter.

According to German news agency DPA, judges overseeing the case proposed ending the criminal proceedings without conclusion last month. They said that the COVID-19 pandemic was making it hard for those proceedings to continue at the moment, while a statute of limitations under law meant any conviction would need to be secured by July.

Both the prosecution and the defendants ultimately agreed to that proposal. Unsurprisingly, relatives of the victims did not, however their approval is not required under German law for the decision to formally close the criminal proceedings to be made.

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Sony/ATV Nashville signs Gabby Barrett
Sony/ATV's Nashville division has signed country musician Gabby Barrett to a global publishing administration deal. A finalist on the 2018 series of 'American Idol', she went platinum with her debut single, 'I Hope', last year.

"Becoming a Sony/ATV songwriter is a highlight moment for me", says Barrett. "I'm really excited to be able to continue to grow as a writer. This is definitely a special team, and I'm grateful for their belief in me and my music".

Sony/ATV Nashville CEO Rusty Gaston adds: "When Gabby sings you can hear her true heart in every single note, and she brings that same passion into the writing room. We are THRILLED to welcome her to the Sony/ATV family and support her as she enters this exciting new phase in her career".

Last week, Barrett released her latest single 'Got Me', featuring Shane & Shane. Her debut album, 'Goldmine', is due out on 19 Jun.

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SoundCloud launches Twitch channel
In these strange times, unexpected things just keep on happening. So it probably shouldn't surprise you to learn that SoundCloud has signed itself up for an account on another streaming platform.

It is, at least, a video streaming platform - Twitch - where it plans to host live programmes featuring music industry advice, live performances from emerging artists, and reviews of the latest audio finds back on SoundCloud.

Amazon-owned Twitch is, of course, best known as a platform for gamers to livestream on, but over time has become a platform used for the livestreaming of music, comedy and more - all the more so since the COVID-19 shutdown began.

Shows on SoundCloud's channel include Cloud Bar on Thursdays, which will delve into issues affecting musicians; Fresh Pressed on Mondays, which tells the stories behind the tracks on the SoundCloud playlist of the same name; and Fast Track, in which a producer will be given 60 minutes to create a new track, with the finished recording then made available as a free download on SoundCloud afterwards.

Find out more at twitch.tv/soundcloud

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Bauer takes complete ownership of radio advertising company First Radio Sales
Bauer Media has announced that it has taken complete ownership of radio advertising agency First Radio Sales. The media firm got a 50% stake in the ad sales business via its acquisition last year of local radio group UKRD. It has now bought the other 50% from the Wireless Group, the radio division of newspaper business News UK.

It was Bauer getting 50% of First Radio Sales that caused problems when the media company sought competition regulator approval for a flurry of local radio acquisitions it instigated in early 2019, including the UKRD deal.

FRS sells national advertising for various independently owned commercial radio stations. The UK Competition & Markets Authority said that, if Bauer sought to close down FRS, or more likely merge it with its existing ad sales business, that would reduce the options for smaller radio stations still seeking sales representation. That therefore could result in those smaller radio stations having to pay higher commission rates.

To overcome those concerns, Bauer told the regulator that it would commit to continue providing ad sales representation to those third party radio stations which have previously utilised FRS on the same terms as they have enjoyed to date, for at least the next ten years.

Confirming Bauer had now taken complete ownership of FRS, the firm's MD of radio Dee Ford said: "In the current landscape, it is more important than ever that businesses and brands are able to communicate with their customers in an agile and effective way. We can now offer an enhanced advertising offering including the stations we recently acquired, as well as an enhanced deal to the third-party customers currently represented by FRS".

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SK Shlomo announces weekly beatboxing lessons for kids on lockdown
Beatboxer SK Shlomo has announced a new online version of his popular 'Beatbox Adventure For Kids' show. Once a week, 'Homeskool Beatbox Adventures' will teach children and their families on lockdown how to make music with their mouths, as well as raising money for the NHS.

"It's a show about believing in yourself", he says. "Finding confidence in your own voice is extremely empowering. That's even more important when so many of us are feeling disconnected - we don't know how we can help the world. This project can bring people together, connect the world up and raise funds for the heroes on the frontline who we appreciate so much".

The show will run at 2pm UK time every Thursday for six weeks, starting this week. Each episode will see him joined by a guest, with Bastille, KT Tunstall, Bill Bailey, Basement Jaxx, Jason Mraz and BBC Radio 1's Dr Radha all signed up to take part.

Over the six weeks, children taking part will be involved in writing a new song, with 50 families each week joining Shlomo live on Zoom. Everyone else can tune in to livestreams on Facebook and YouTube. The beatboxer is also aiming to raise £2500 for NHS Charities Together with the show.

Watch SK Shlomo himself introduce the concept here.

Find out more at beatboxadventures.com

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CMU Insights at AIM House: Key Media Trends In 2020
The Association Of Independent Music is presenting its annual AIM House conference programme (which usually takes place at The Great Escape) virtually this year on Friday 15 May - and CMU Insights will curate a strand within that programme. Over the next week we'll run you through each of the sessions CMU will present.

KEY MUSIC MEDIA TRENDS IN 2020 at 10am on Friday 15 May
Just like the music industry itself, the music media - music press, music radio and music TV - has gone through a tricky transition with the shift to digital. Digital platforms opened up many opportunities of course, but also created many challenges. And, unlike the record industry, which is now back in growth, many music media are still feeling the pain.

In this session we'll look at how music magazines, websites, blogs, radio stations and TV channels have all navigated these challenges, and at the ways they have diversified in order to generate extra income. Plus, what do these changes mean for artists, labels, promoters and music PRs who are seeking media support for their releases and events?

And while we're at it, what do we even mean by 'music media' in 2020? There are more influencers in music than ever before. Are they all media? And can the music industry talk to all these different media and influencers in the same way and on the same terms?

Should we really group bloggers and tweeters in with 'press', podcasters and playlisters with 'radio' and YouTubers and TikTokers with 'TV'? Or are they all just 'digital'? And which of these relationships are editorial-based and which require advertising spend?

We'll delve into all things music media and music PR. Among those joining us will be Cliff Fluet from Lewis Silkin and Eleven; Farhana Aboo from AEI Group; Nikki Wright from Global Publicity; and Rupert Vereker from DIY Music. CMU's Sam Taylor will moderate while CMU's Chris Cooke will kick things off with some media insights.

To access these CMU sessions - and all the other debates, conversations and workshops taking place as part of the AIM House virtual conference - get signed up for free here.

COVID-19 SUPPORT INTIATIVES

Mark Ronson has released a new video mixtape, called 'Love Lockdown', on his YouTube channel. It features live lockdown performances from Miley Cyrus, Christine And The Queens, Robyn, Dua Lipa, Disclosure and more, and aims to raise money for the World Health Organisation.

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RELEASES

Sia has released new single 'Saved My Life', co-written by Dua Lipa and Greg Kurstin. All proceeds from the track will be donated to Americares and CORE Response.

Tinie (no longer Tempah) has released new single 'Moncler', featuring Tion Wayne. "This song is a celebration of where I'm at in my life now", he says. "We rarely get to stop and smell the flowers because we are in constant pursuit of whatever it is we are chasing".

Bright Light Bright Light has released new single 'Sensation', featuring Jake Shears. His new album, 'Fun City', is out on 18 Sep.

Kvellertak have released a video of 'Bråtebrann' from a livestreamed performance last month. You can pay to access the full show here.

Lyam has shared new track 'Awai'. His debut album, 'N_o caller ID', is out on 5 Jun.

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

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The Weeknd discusses American Dad episode, and new song I'm A Virgin
The Weeknd's episode of animated series 'American Dad' - which he co-wrote and appears in - aired in the US last night. The episode also saw him premiere a new song, 'I'm A Virgin', co-written with Asa Taccone specifically for the telly programme.

Describing himself as a "longtime fan of the show", the musician tells Variety: "I always wanted to play a character that was the opposite of the public's perception of me - and of course make fun of myself. Once I was given the opportunity I took complete advantage. [Episode co-writer] Joel Hurwitz believed in the vision and he helped execute it beautifully".

He adds that he's now keen to "continue to create different Weeknds in alternate universes", with another animated show in his sights.

"'American Dad" was everything I wanted", he says. "It's going to be hard to beat this in the TV cartoon world, but an obvious bucket list would be to work on 'The Simpsons'. That would be a dream ... I actually have a pretty cool idea if they're down".

Elsewhere in animated Weeknd news, he also revealed in the Variety interview that he's provided "multiple voices" for an upcoming episode of 'Robot Chicken'.

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ANDY MALT | Editor
Andy heads up the team, overseeing the CMU Daily, website and Setlist podcast, managing social channels, reporting on artist and business stories, and writing the CMU Approved column.
andy@unlimitedmedia.co.uk (except press releases, see below)
   
CHRIS COOKE | Co-Founder & MD
Chris provides music business coverage, writing key business news and CMU Trends. He also leads the CMU Insights and CMU Pathways consultancy units and the CMU:DIY future talent programme, as well as heading up CMU publisher 3CM UnLimited.
chris@unlimitedmedia.co.uk (except press releases, see below)
   
SAM TAYLOR | Commercial Manager
Sam oversees the commercial side of the CMU media, leading on sales and sponsorship, and also heads up business development at CMU InsightsCMU Pathways and CMU:DIY.
sam@unlimitedmedia.co.uk or call 020 7099 9060
   
CARO MOSES | Co-Publisher
Caro helps oversee the CMU media as a Director of 3CM UnLimited, as well as heading up the company's other two titles ThisWeek London and ThreeWeeks Edinburgh, and supporting other parts of the business.
caro@unlimitedmedia.co.uk
 
CMU helps people to navigate and understand the music business.

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