Deezer’s Post

Deezer has officially partnered with SACEM to launch the Artist Centric Payment System for songwriters in France 👏 Another step in the right direction towards creating a more equitable music streaming ecosystem.

BMI filed a rate court action against SiriusXM, seeking fair fees for licensing its 22.4 million-song repertoire. According to BMI, SiriusXM has resisted paying rates that reflect BMI’s market share, growth in the digital market, and the company’s revenue surge. After years of negotiations, BMI claims SiriusXM is undervaluing songwriters, composers, and publishers. The court will now determine if BMI’s proposed rates, covering January 2022 through December 2026, are reasonable. This follows BMI’s 2022 court victory against live event promoters, which secured a 138% royalty increase for songwriters. https://lnkd.in/gyt3ayPD #BMI #SirusXM

Deezer is expanding its ‘artist-centric’ royalties system to include publishing rights, partnering with French collecting society Sacem. Initially launched in 2023 for recordings, the updated model—currently exclusive to France—introduces measures like royalty boosts for tracks meeting monthly stream thresholds and excluding ‘noise’ tracks from payouts. This development follows a 15-month exploration of the model’s complexities since the partnership's announcement in late 2023. https://lnkd.in/gnKbrRCU #Deezer #Sacem #musicpublishing

The music business is not only about art and entertainment. It also relies heavily on technology! Billions of lines of metadata are exchanged across record companies, aggregators, DSPs, CMOs and publishers, and the challenge is to correctly match and identify the correct right owners when the data flowing many times come from stakeholders that don't own the information. It's a hard problem to fix or mitigate that involves a lot of technology, but I'm glad to see we are discussing it at NMPA and Robert Kyncl's level. Songwriters need to be aware that having a publisher with cutting-edge technology to tackle into this problem is a MUST to avoid leaving money on the table! #musicbusiness #musicmetadata #bigdata https://lnkd.in/djuFQnTT

Some tips on how to get paid in the #musicindustry. 1. Understand the Basics of Radio Airplay Revenue 2. Register with a Performance Rights Organization (PRO) 3. Track Your Airplay Read our blog post to learn more: https://lnkd.in/e9frK4gH If you found this post insightful, give it a like, follow us, and share it with your network. Let’s grow together! Zach Johnson, Urmi Devi, Dale Going, Ray Estevez

A couple of months ago I posted about RIAA suing Verison. Last month Verizon shot back: https://lnkd.in/g23p4KSX What will be the end result of this “conversation’ playing out in court. In the long term. Is this a result of technology (streaming services) not addressing the problem that they were trying to solve? Perhaps this is a signal that further innovation is needed in how content is managed, distributed, and monetized online. There's a strong argument that, while tech helped create more accessible music platforms, it hasn't fully addressed the concerns of artists, songwriters, and other creators. Is this lawsuit an opportunity to revisit those revenue-sharing models and perhaps craft something fairer?  We want to move forward and not limit creativity as it seems the problem is still not solved. Where do we go from here?

A group of #songwriters, including #Jim and #WilliamReid from @jesusandmarychain and @robertfrippofficial from #KingCrimson, are suing UK body #PRS for Music over how it handles #royalties from live performances. The lawsuit alleges that PRS offers major songwriters "sweetheart" deals that end up being subsidised by smaller writers, who face prohibitive fees and administrative red tape if they want to withdraw their rights from PRS and instead directly #license with #promoters, venues, and #musicfestivals. PRS has a near monopoly in the UK, acting as an intermediary between companies that play music (such as #radio stations, shops, as well as live events) and those who write it: companies sign licenses, and PRS distributes the proceeds to songwriters. The #lawsuit is being led by Pace Rights Management, a company that offers direct licensing of live rights. The suit is based on the fact that PRS typically takes a 23% administration cut of those royalties before paying money through to the relevant songwriters, but PRS's cut is capped at £1,250. PRS has what it calls Major Live Concert Service (#MLCS) to handle royalty administration for arena- and stadium-level acts, leading to deals for major songwriters with an "administrative charge" of only £125 from their royalties earned per gig. Pace claims to have seen internal PRS documentation showing the major writers participating in the MLCS are offered an average effective #administration fee of 0.2%, while the "99.9% of everyone else" if they come under the £1,250 threshold, are charged admin of 23% on the ordinary tariff for "#pop and #classical concerts". The lawsuit also claims PRS is deliberately erecting financial and administrative obstacles to try to obstruct other writers from direct licensing. #TheGuardian put all the accusations outlined above to PRS, which declined to put forward a senior executive for #interview and instead issued a statement. PRS asserts that its policies and rules follow a thorough and extensive approval and review process by the Board and the Members' #Council, which is comprised of members and independent non-executive directors appointed by the #membership. (Credit: Mel Butler)

User generate content (UGC) is challenging to track sometimes, but there are more and more smart ways to identify music usage otherwise not reported. ICE and Song Sleuth now teamed up to do what's possible to improve together in this. Details in the post below.

https://lnkd.in/ggDrCwK3 New research from Xperi subsidiary DTS finds that no one genre dominated its 2024 top-five lists, based on in-car listening data gathered by its DTS AutoStage Broadcaster Portal. Part of the reason for the apparent inability of one #genre to assert itself is that many artists seamlessly transitioned between genres, especially between #rap and #country, Xperi says in a news release. Among other trends: #solo artists are on the rise, and some powerful newcomers and breakout artists gave veteran hitmakers a run for their money. “It certainly has been an interesting year for in-vehicle listening,” says Joe D’Angelo, SVP at Xperi. “From artists crossing genres to the impressive breakouts of TikTok artists almost eclipsing veteran hitmakers, these lists are just a fraction of the range of insights #incar #listening data can provide. “The full range of in-car listening data can be a game-changer for broadcasters with its window into real-time listening patterns, duration, and station switching behavior,” he continues. “It can help broadcasters better understand their listeners’ true preferences during their daily commutes and road trips, enabling them to optimize #programming schedules, refine their #content mix, and deliver more engaging experiences that keep listeners tuned in longer.” Insights from the DTS AutoStage Broadcaster Portal represent data from more than 10 million vehicles across 150 countries equipped with the DTS AutoStage platform. These insights further Xperi’s mission to support the broadcast community by empowering broadcasters to forge deeper connections with their audiences. “By combining the range of rich automotive data available from our broadcaster portal with traditional metrics, broadcasters can make smarter decisions about everything from music rotation and talk segments to advertising placements. The result is a more responsive, data-driven approach to broadcasting that better serves both listeners and advertising partners while maintaining the intimate, local connection that makes #radio unique,” concluded D’Angelo. Songs by megastars like Taylor Swift, Beyoncé, and Ariana Grande ranked in the top five lists in 2024, but Xperi says newcomers like Sabrina Carpenter, Shaboozey, and Teddy Swims — all of whom are up for the Best New Artist Grammy — held their spots longer in the top five quarterly lists. Taylor Swift’s song “Cruel Summer,” for example, broke the top five U.S. and global lists in Q1 only. Meanwhile, Benson Boone’s “Beautiful Things” and Sabrina Carpenter’s “Espresso” appeared on the U.S., UK, and/or global top five lists for three consecutive quarters in 2024 (Q2, Q3 and Q4). Carpenter also had the most appearances in Xperi’s 2024 top five quarterly lists, with seven appearances. Additionally, hit songs from Swims, Shaboozey and Carpenter ranked in the top three for the full year in the U.S. and globally.

Content-ID and rights-management firm Pex has been shouting about ‘modified audio’ in recent months: referring to tracks that have been manipulated (for example sped up or pitch-shifted) and uploaded to platforms including TikTok, YouTube and SoundCloud. The problem with this is that the royalties for plays of those tracks may not find their way to the correct rightsholders if the audio is not correctly identified. Pex’s latest report focuses on the most popular tracks in Q1 2024 by a specific metric: how many ‘manipulated matches’ the company was able to identify for tracks that appeared in Billboard’s Hot 100 chart in March. Top of the pile was ‘One of the Girls’ by The Weeknd, Jennue and Lily Rose Depp, taken from the soundtrack of the… well, let’s just call it ‘not-very-critically acclaimed’ TV show ‘The Idol’. Pex found more than 220k matches of the track on UGC platforms, and 80% of those matches were modified versions. What’s more, while videos using the track racked up 6.22bn views, 5.18bn of those were of videos using modified versions. Read The Full Story Here: https://lnkd.in/du6KkHXN #MusicRights #TechSolutions #Pex #musically #musicnews #readmore