Also chatting about the developments in France, and the need for the UK government to introduce similar measures here, is U2 manager Paul McGuinness, one of the first music industry types to make publicly confrontational remarks about the ISPs' failure to combat file-sharing at MIDEM last year.
In an article for Le Figaro, also published by the Guardian, he also takes time to dispute one commonly made claim in the P2P debate, that artists who lose out on record sale income because of file-sharing can still do quite nicely thank you very much through the apparently booming live music industry.
Beginning by saying that the current debate on how to protect online copyrights "will shape the lives and the working conditions of creative professionals for years, even decades, to come", he says: "France is leading the way on this issue, with its new 'Creation And Internet' law, and where France goes, the rest of the world may follow. This is certainly not about the future of U2, the band I have managed for over 30 years. But it is about the future of a new generation of artists who aspire to be the next U2 - and about the whole environment in which that aspiration can be made possible".
Justifying his support for France's proposals, and the adoption of similar measures elsewhere, he says: "The world of music is rapidly changing, and new business models are developing fast, but all of this progress is threatened in a world where 95% of music downloads see no reward going to the creator. There are clearly people who oppose the new law, but I have not heard of any viable economic alternative to the system now being introduced, committing ISPs to helping protect copyright. The only other proposals offered look like solutions produced for the laboratory, not for the market place".
Opposing the aforementioned idea that the music business of the future has live performance as its main revenue stream, he adds: "It is a myth that artists can build long-term careers on live music alone. U2 will this year fill huge stadiums around the world. that is because they have had parallel careers as recording artists and live performers since their inception 30 years ago".
He continues: "A generation of artists, all over France, and further afield, are seeing their livelihoods destroyed, their career ambitions stolen. Investment that should help them build careers is draining out of the industry. Critics who speak of the victims as 'fat record and film companies' are evoking tired caricatures, which I don't believe the majority of people today accept - certainly not those who have recently spoken to an aspiring music professional, a film producer, a TV researcher or the owner of an independent music label".
His article concludes by suggesting that, while some who oppose the new system claim large numbers of innocent web-users may lose their net connections after being falsely accused of copyright infringement, in fact the French laws are not as draconian as many suggest, and the graduated response (so two warnings before disconnection) means the new law has both "balance and proportionality".