TODAY'S TOP STORY: Kelis has accused Beyonce of sampling her music without permission on the song 'Energy', which appears on the new Beyonce album 'Renaissance', which is out today. Although, this isn't really a conventional uncleared sample dispute, and instead relates to a long-running beef between Kelis and her former collaborators, production outfit The Neptunes... [READ MORE]

TOP STORIES Kelis says Milkshake sample in new Beyonce song is "theft"
LEGAL Latest majors v ISP copyright case heading to trial next week
LABELS & PUBLISHERS Universal Music Vietnam partners with MCN Metub on new label, monoX
MEDIA Jack Saunders to replace Scott Mills on Radio 1's Official Chart Show
Credible Media acquires MMH Radio

RELEASES Brian Eno announces new album, Foreverandevernomore
ONE LINERS Rosalía, TikTok, Bastille, more
AND FINALLY... Drake defends eighteen minute private jet flight by insisting that no one was on the plane
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Kelis says Milkshake sample in new Beyonce song is "theft"
Kelis has accused Beyonce of sampling her music without permission on the song 'Energy', which appears on the new Beyonce album 'Renaissance', which is out today. Although, this isn't really a conventional uncleared sample dispute, and instead relates to a long-running beef between Kelis and her former collaborators, production outfit The Neptunes.

The new Beyonce song interpolates part of Kelis's 2003 track 'Milkshake', which she recorded with The Neptunes - aka Pharrell Williams and Chad Hugo - for her third album 'Tasty'. It is one of five tracks the duo produced for that album, four of which - including 'Milkshake' - list Williams and Hugo as the sole songwriters. As a result they are both credited on 'Energy' - seemingly suggesting the interpolation itself has been properly cleared - but Kelis is not.

Responding to one fan on Instagram who had praised the "collab" on the new Beyonce record, Kelis stated, via the account of her beauty brand Bounty And Full: "It's not a collab, it's theft".

In another comment, she added: "My mind is blown too because the level of disrespect and utter ignorance of all three parties involved is astounding. I heard about this the same way everyone else did. Nothing is ever as it seems, some of the people in this business have no soul or integrity and they have everyone fooled".

This is not the first time that Kelis has complained about how the rights in and royalties from the music she made with The Neptunes over 20 years ago were carved up - with her previously claiming that she earned no income at all from her first album, which was solely produced by the duo and largely credited to them as songwriters.

She did receive joint credits on many of the tracks on her second album, 'Wanderland', and some of the songs on 'Tasty', alongside the two producers and others. Her first three albums were also released via The Neptunes' Star Trak label.

Speaking to The Guardian in 2020, she said: "I was told we were going to split the whole thing 33/33/33, which we didn't do. [I was] blatantly lied to and tricked [by] the Neptunes and their management and their lawyers and all that stuff".

She added that she didn't initially realise that she wasn't receiving any income from her recordings, because touring was earning her a living, but when she did and complained, she said: "Their argument is: 'Well, you signed [an agreement]'. I'm like: 'Yeah, I signed what I was told, and I was too young and too stupid to double-check it'".

The fact that the long-running beef between Kelis and The Neptunes is no secret - and Williams and Hugo have their credits on the Beyonce track - means there probably isn't a straightforward copyright claim regarding use of 'Milkshake' in 'Energy'.

However, Kelis says, the use of her song - and the fact she was not made aware of it - raises moral issues and it highlights wider concerns about how artists are treated. And, while her dispute is really with Williams and Hugo, she feels Beyonce is also partly to blame.

Moving the conversation over to her main Instagram account last night, Kelis posted two videos further explaining her grievances. And she began by saying that - given Beyonce has met her in the past and they have mutual friends - "it's not that hard, she can get in contact, right?"

"I know what I own and what I don't own", she continues. "I also know the lies that were told, I also know the things that were stolen - publishing was stolen, people were swindled out of rights. It happens all the time, especially back [in the late 90s]".

"So it's not about me being mad about Beyonce", she insists. "She is one issue because it was stupid and disrespectful - she could have at least reached out. But the real issue is that … this is a direct hit on me, Pharrell does this all the time … and the reality is that it's frustrating, I have the right to be frustrated".

In a second video, she called out Pharrell for speaking out about artists being able to renegotiate deals and getting proper credit for their work in an interview last year, "when in reality, when I was signed to him, we had the same manager and he has writing credits on my records - all my singles, coincidentally - and he never wrote a lyric a day in his life".

In the caption for that second video, she also writes: "I just heard the record everyone is saying has my sample. But it's beyond this song at this point. This was a trigger for me. 'Milkshake' alone is one of the most licensed records of our generation. I am a creator, I'm an innovator, I have done more then left my mark on an era of music and style that will go down in history".

"But there are bullies and secrets and gangsters in this industry that smile and get away with it until someone says enough is enough", she went on. "So I'm saying it today. I'm coming for what's mine and I want reparations".

Whether this means we can expect legal action over this remains to be seen. Neither The Neptunes nor Beyonce have commented on all of this.


Latest majors v ISP copyright case heading to trial next week
One of the big old copyright infringement lawsuits being pursued by the music industry against an American internet service provider will get properly to court next week, with the music companies hoping that the recent trend of juries finding in their favour in disputes of this kind continues. But before that trial can get underway, the judge overseeing the case had to rule on various requests made by both sides regarding what statements can be made in court.

The ISP being targeted here is actually a former ISP, it being Bright House Networks, which is now part of Charter Communications, which has been separately sued by the music industry. In both cases, the ISPs are accused of not doing enough to deal with copyright infringement and copyright infringers on their networks - in particular failing to target and ultimately disconnect repeat infringers.

In fact, the argument goes, so slack were the ISPs in dealing with infringement and infringers, they don't qualify for protection under the copyright safe harbour, which would otherwise prevent them from being held liable for any infringement actually undertaken by their customers. And with out safe harbour protection, the internet companies can be held liable for that infringement, and therefore be ordered to pay mega-bucks damages.

The precedent here is the lawsuits pursued against another US ISP - Cox Communications - firstly by BMG and then the majors. In those cases it was shown that Cox only paid lip service to the repeat infringer policies it was obliged to employ in order to qualify for safe harbour protection. As a result, it lost that protection and was therefore liable for its customers' infringement. And, with the major label litigation, liable to the tune of a billion dollars.

Given the size of the damages in the Cox case, the other ISPs targeted by lawsuits of this kind have been trying very hard to fight back, including by criticising the anti-piracy operations of the record companies and their agents. Although, in the Bright House dispute, a counterclaim from the ISP accusing the labels of issuing copyright notices relating to music they didn't actually own was dismissed at the end of 2020.

In terms of the recent requests regarding what statements can be made during the upcoming trial, both the labels and the ISP wanted the judge to stop the other side from bringing certain things up in front of the jury. According to Torrentfreak, the judge has now ruled on those requests, making some decisions in favour of Bright House, and some in favour of the majors.

For example, the labels didn't want Bright House to be able to argue in court that disconnecting customers who repeatedly infringe copyright is both disproportionate and a violation of each affected customer's human right to internet access.

On that point, the judge ruled that Bright House will be able to discuss whether or not disconnecting infringing customers is a proportionate measure when it comes to combatting piracy, however they will not be able to bring up the human rights arguments.

The labels also didn't want Bright House to discuss the Copyright Alert System that the music industry ran with certain US internet companies between 2013 and 2017.

That was a voluntary programme that involved participating ISPs sending warning letters to customers who accessed piracy services. However, it didn't include any commitment to disconnect customers who ignored those warnings.

Bright House wants to argue that because that industry sanctioned scheme did not include disconnections, it's unfair to say it should have been disconnecting repeat infringers.

The labels objected to Bright House - which didn't take part in the CAS programme - making that argument in court, reckoning that what was agreed in a voluntary industry initiative is irrelevant when it comes to assessing the liabilities of the ISP under US copyright law. However, the judge ruled that the CAS programme can be discussed before the jury.

In terms of a decision that mainly went in the favour of the labels, Bright House also wanted to be able to bring up aggrieved artists who have complained about their deals with the majors and what royalties they see when their music is used.

The judge said that the ISP can't bring up artist complaints of that kind, unless the majors in turn argue that they are suing the net firm for the good of the artist community.

With those decisions made, the majors v Bright House trial can get underway. It will be very interesting to see if we get another Cox Communications style victory for the music industry.


Universal Music Vietnam partners with MCN Metub on new label, monoX
Universal Music has announced the launch of a new label called monoX in Vietnam, a partnership with multi-channel network Metub. The label will be focussed on breaking new Vietnamese artists globally.

"We are able to provide a one-stop shop for artists", says Lan Khanh Phung, GM of Universal Music Vietnam. "More than just music, we can connect people through creativity, emotion and dreams. From passion to profession. We want to bridge the two worlds together and the launch of monoX as a standalone new label will provide Vietnamese artists new opportunities to find success and build audiences, both at home and globally".

CEO of Metub, Phuong Ha, adds: "Although we have worked with many artistes to craft their digital strategy before, the establishment of the monoX label is a special move for Metub, to step further into the music landscape, which to me, is at a very exciting stage".

"With this co-operation between Metub and Universal Music Group", she continues, "we hope to build a home for Vietnamese artists where they can enjoy a world-class music industry value chain with local insights and an extensive network. At Metub, we are able to discover new talents at a very early stage of their career and certainly, the monoX label will continue to help us to turn their passion for music into a successful artist career".

The first signings to the new label are Wren Evans, Evy and Daisy. Says Evans: "I am THRILLED to finally have a team that truly understands and supports what I do creatively. Now I only focus on putting out music. A lot of it. I cannot wait for my fans to discover the next chapters in my journey".

Here's his latest single 'Con Dau (The Pain)'.


Jack Saunders to replace Scott Mills on Radio 1's Official Chart Show
BBC Radio 1 has announced Jack Saunders as the new host of its weekly chart show on Fridays at 4pm, counting down the top 40 singles in the UK, as compiled with the Official Charts Company.

"I can't believe my name gets added next to the endless list of legends who have presented 'The Official Chart' and to take over from an amazing broadcaster such as Scott Mills is amazing", says Saunders. "I can't wait to get started and put my own imprint on it".

Aled Haydn Jones, Head Of BBC Radio 1, adds: "Jack is a fantastic presenter who has proved hugely popular with our listeners. I know fans of 'The Official Chart' will love his infectious energy and passion for music that he'll undoubtedly bring to the show".

Martin Talbot, Chief Executive of the Official Charts Company, comments: "What fantastic news it is that Jack is to become the latest host of Radio 1's 'Official Chart Show'. Jack is a perfect choice as the new host of radio's most vibrant chart show - he is a rising star of British radio, whose progress at Radio 1 has been meteoric, and who also proved to be among the stars of the BBC's Glastonbury TV coverage this year".

"While Scott will be an incredibly hard act to follow", he adds, "Jack has talent to burn and is sure to bring a fresh and exciting new approach to 'The Official Chart Show', as the official singles chart gears up to celebrate its 70th anniversary later this year".

Saunders' first show will air on 9 Sep. And, as I think may have been mentioned here already, he takes over presenting the show from Scott Mills, who recently announced his departure to Radio 2.


Credible Media acquires MMH Radio
Credible Media - the Oldham-based media company that used to own local radio station Revolution 96.2 and now runs the digital hip hop station Mom's Spaghetti - is moving into metal broadcasting via the acquisition of the online service Midlands Metalhead Radio - aka MMH Radio. The plan is to now roll out the MMH brand "across the North West", including on the DAB digital radio network.

Credible MD Matt Ramsbottom says that, ever since selling the Revolution 96.2 frequency to Bauer Media back in 2020, "we've been looking to build on our radio credentials and develop new brands, breaking new ground. We were hugely impressed by the setup at MMH, a station that has huge potential and is ripe for development into a UK-wide rock brand through digital distribution including small-scale DAB".

MMH Radio was launched in 2011 and is based in Stafford. Its former owner, Adam Till, says of the new deal: "Despite numerous offers, I was impressed by the passion and direction that Credible Media brought to the table. It's a project that I've dedicated over ten years of my life to, but a busy family life and other commitments mean I can't take the project to the next level. I know the experience in the Credible Media team is a huge boost to the progress of the station, and I'm looking forward to watching the journey".


Playlist: Brand New On CMU
Every Friday we round up all the new music we've covered over the preceding week into a Spotify playlist. And this week has proven to be a bumper edition, with fresh tracks galore.

Among the artists with brand new music to check out this week are Rosalía, Bastille, Rina Sawayama, Tove Lo, Lamb Of God, Two Door Cinema Club, Connie Constance, Charli XCX, Bush, Sampa The Great, Alex G, Dry Cleaning, The Soft Pink Truth, SBTRKT, Flohio and more.

Check out the whole playlist on Spotify here.

Brian Eno announces new album, Foreverandevernomore
Brian Eno has announced that he will release new album 'Foreverandevernomore' this autumn, singing vocals on the majority of tracks for the first time since 2005's 'Another Day On Earth'.

First single, 'There Were Bells', was written by Eno for a performance with his brother Roger at the Acropolis in Athens, Greece in August 2021. High temperatures on the day of the concert had sparked wildfires around the city. Eno says: "I thought, here we are at the birthplace of Western civilisation, probably witnessing the end of it".

On the inspiration for the album, he adds: "Like everybody else - except, apparently, most of the governments of the world - I've been thinking about our narrowing, precarious future, and this music grew out of those thoughts. Perhaps it's more accurate to say I've been feeling about it… and the music grew out of the feelings. Those of us who share those feelings are aware that the world is changing at a super-rapid rate, and that large parts of it are disappearing forever - hence the album title".

"These aren't propaganda songs to tell you what to believe and how to act", he goes on. "Instead they're my own exploration of my own feelings. The hope is that they will invite you, the listener, to share those experiences and explorations".

"It took me a long time to embrace the idea that we artists are actually feelings-merchants", he continues. "Feelings are subjective. Science avoids them because they're hard to quantify and compare. But 'feelings' are the beginnings of thoughts, and the long term attendants of them too. Feelings are the whole body reacting, often before the conscious brain has got into gear, and often with a wide lens that encompasses more than the brain is consciously aware of".

"Art is where we start to become acquainted with those feelings, where we notice them and learn from them - learn what we like and don't like - and from there they start to turn into actionable thoughts", he expands further. "Children learn through play; adults play through art. Art gives you the space to 'have' feelings, but it comes with an off-switch: you can shut the book or leave the gallery. Art is a safe place to experience feelings - joyous ones and difficult ones. Sometimes those feelings are about things we long for, sometimes they're about things we might want to avoid".

"I'm more and more convinced that our only hope of saving our planet is if we begin to have different feelings about it", he concludes. "Perhaps if we became re-enchanted by the amazing improbability of life; perhaps if we suffered regret and even shame at what we've already lost; perhaps if we felt exhilarated by the challenges we face and what might yet become possible. Briefly, we need to fall in love again, but this time with nature, with civilisation and with our hopes for the future".

'Foreverandevernomore' is set for release on 14 Oct. Watch the video for 'There Were Bells' here.



TikTok's own music marketing and DIY music distribution platform SoundOn has launched a new pre-release feature. It allows artists to give TikTok users access to clips of new music before releasing the full track.



Rosalía has released new standalone single 'Despachá'. Currently on a world tour, she will play the O2 in London on 15 Dec.

Bastille have announced a new three part extended version of their latest album 'Give Me The Future', featuring new songs, collaborations, covers and more. "In releasing this version of the record, we wanted to give the complete picture of what we intended with this album and also explore the idea that you can choose your own adventure", says frontman Dan Smith. "You can dive into the ideas of the future and an electronic world, or you can fall back into the past – away from technology and into ideas of memory and nostalgia - both thematically and musically. Or you can choose full-on dancefloor heartbreak escape". The new version of the album is out on 26 Aug. From it, this is 'Revolution'.

Rina Sawayama has released 'Hold The Girl', the title track of her second album, which is out on 16 Sep. "'Hold The Girl' was the first song I wrote for the record at the end of 2020", she says. "I had gone to therapy and had a revelation, so I decided to write this song. That was the start of it. I was crying before going into the studio to write about it".

Tove Lo has released new single '2 Die 4'. "With '2 Die 4' I wanted 'instantly iconic' energy", she says. "I've never sampled anything before, and this feels like the perfect first moment. Lyrically I wanted it to be that 'pick me up when I'm feeling down' song. At first, it's like a warm hug, then you shake it off, let out a scream and start dancing!" The track is taken from her new album, 'Dirt Femme', which is out on 14 Oct.

Lamb Of God have released 'Omens', the title track of their new album, which is set for release on 7 Oct. "I think a lot of the messes human beings find ourselves in could be very easily prevented simply by paying attention to obvious repeating patterns, both in our personal lives and in a broader sociohistorical context", says frontman Randy Blythe. "What some call 'omens' are really just manifestations of the fact that there is nothing new under the sun. It's foolish to ignore this, but we all do it".

Two Door Cinema Club have released new single 'Lucky'. Their new album, 'Keep On Smiling', is out on 2 Sep. "'Lucky' is a reflection about how fast things change", say the band. "Lamenting the loss of points and moments in culture. We live in such a disposable society, we just need to take the time to think and reflect about why things are there in the first place".

Katie Crutchfield - aka Waxahatchee - and Jess Williamson have announced a new project together, Plains. They will release their first album under the name, 'I Walked With You A Ways', on 21 Oct. Here's new single 'Problem With It'.

Pip Millett has announced that she will release her debut album, 'When Everything Is Better, I'll Let You Know', on 21 Oct. New single, 'Slow', is here now.

US Girls has released new single 'So Typically Now'.

Cryalot - aka Sarah Bonito from Kero Kero Bonito - has released new single 'Touch The Sun', taken from debut EP 'Icarus', which is out on 26 Aug. "'Touch The Sun' is about the feeling of being invincible and the unshakable belief that you can overcome any difficulties. It depicts the beginning of the Icarus story; celebrating the courage when he decides to take flight, the excitement of breaking free and knowing that leap of faith is worth all the risks". She will play her debut show at Electrowerkz in London on 15 Sep.

Fable has released new single 'Swarm', taken from her debut album 'Shame', which is also out today. "I had the lyric 'Where do I end, where does the world begin?' scrawled in my notepad", she says. "It's making a stab at a difficult subject: What is I? These are the things that go through your mind when you start self-isolation, before the pandemic's even begun".

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


Drake defends eighteen minute private jet flight by insisting that no one was on the plane
Drake has responded to claims that he and other celebrities have been taking super short flights on their private jets, rather than taking a form of travel that produces fewer CO2 emissions. His defence? It's alright, his plane may have taken a super short flight recently, but he wasn't on it. In fact there were no passengers on it at all. So that's alright then.

A recent round of angry shouting about celebs taking brief private jet trips was prompted by Kylie Jenner last week, when she posted a picture of herself and boyfriend Travis Scott standing between two private jets, with the caption "you wanna take mine or yours?"

People then dug up a post from automated Twitter account CelebJets from a week earlier, which showed that Jenner's plane had taken a flight lasting just seventeen minutes. Which seemed irresponsible, given the environmental impact the flight would have had, and the presumed other more eco-friendly options available for what was clearly a relatively short journey.

From there, The Guardian started digging through the plane tracking account and uncovering other very short flights apparently taken by famous people. And, according to its analysis, the worst offender, in terms of emissions, was Drake. In recent weeks, his plane flew from Hamilton to Toronto in Canada, with a total flight time of eighteen minutes. In the process, it is estimated that the jet spewed out five tonnes of CO2, more than the average global emissions of one person.

Responding to those reports, this week Drake defended himself. After Instagram account RealTorontoNewz posted about the controversy, asking followers to chime in, the rapper himself commented: "This is just them moving planes to whatever airport they are being stored at for anyone who was interested in the logistics… nobody takes that flight".

How he thought people were going to think that was better is anyone's guess. Sure, yes, maybe the flight was caused by some routine airport logistics that are out of his control. He flew somewhere, then he went somewhere else by some other means of transport, and the plane was not in its nice, comfy plane house. What are you going to do?

Well, I suppose you could recognise that owning a private jet is entirely unnecessary. You know you can hire these things out when you need them? And maybe then another client of the plane company could use the return trip. Or you could just not use private jets. After all, there are always other - sometimes marginally slower - possibilities available. Or you could just not go anywhere at all. Who really needs to go anywhere? Everything's online now anyway.

But, yeah, if Drake thinks that a good defence for being responsible for pumping out more emissions in less than 20 minutes than most people manage in a year just because your plane ended up in slightly the wrong place, well, it seems unlikely that this controversy is going to go away any time soon.


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. (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 consultancy unit and the CMU:DIY future talent programme, as well as heading up CMU publisher 3CM UnLimited. (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 Insights and CMU:DIY. 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.
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