Loading...

Follow Music & Copyright's Blog on Feedspot


Valid
or
Continue with Google
Continue with Facebook

The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.

Streaming growth boosts R&B/hip-hop share of global recorded-music sales
The return to growth for the recorded-music industry has brought with it an interesting shift in sales patterns for the different musical genres. A number of national trade associations’ year-end summaries of music sales have shown that certain genres have received a sizable boost from the change in consumers’ consumption patterns, while others have suffered a decline. R&B/hip-hop in particular has benefited from the growth in streaming, with the genre’s share of global retail sales more than doubling in just five years. Music & Copyright has analyzed global genre sales to see just how the return to recorded-music good times has affected sales of the most popular music genres.

Music streamers extend their bundle options to maintain subscription growth
Music streamers are finding that bundling their offerings with other products can help them recruit paying customers. A good part of that activity has revolved around tie-ups with video-streaming services. More recently, the likes of Spotify, iHeartRadio, and Tidal have been pushing into new areas such as movies and books to generate interest in their subscription-based streaming offers. Expect more bundling activity from music streamers in sectors such as gaming, in-car entertainment, and audio equipment, although promotions may need to be bolder to really pay off.

TONO reports record year for collections and distributions
Norwegian authors’ society TONO has reported a record year for both collections and distributions. After a disappointing 2016 that failed to repeat the record-breaking year of 2015, total receipts in 2017 were boosted by growth in all the main collection sources. Digital registered the highest year-on-year increase, but there were notable rises in collections from broadcast retransmission, live concerts, cinema, and overseas. TONO noted that Norwegian music picked up considerable momentum abroad last year. Receipts from background music and casual music use also grew. Previously, the authors’ society had said the competition for customers in the background music segment had increased in recent years with providers of non-licensed music becoming more active. However, the level of competition lessened in 2017 and a new copyright act is set to clarify whether users of non-licensed services should be paying royalties.

Denmark country report
In addition to the usual set of music industry statistics and news briefs, the latest issue of Music & Copyright includes a detailed Denmark music industry report. Denmark is one of a small number of countries in Northern Europe that can be described as global leaders in the transition from music ownership to access. Although the country has a population of just 5.7 million and ranks in the lower part of the world’s top 20 music markets, the share of recorded-music sales from access services rivals most others. Streaming accounted for 85% of trade earnings from sales of physical and digital formats and services last year, and this share is expected to rise further as sales of physical formats and downloads fall away. UMG is the market share leader in Denmark, ahead of SME and WMG, enhancing its lead with a modest share rise. Royalty earnings collected by authors’ society KODA were boosted by retroactive TV collections that pushed the collection total above the DKK1bn mark for the first time. Performance rights society Gramex also reported a record year, and indications suggest Denmark’s live sector performed well in 2017.

If you would like more information about the newsletter or set up a subscription then send us an

Read Full Article
Visit website
  • Show original
  • .
  • Share
  • .
  • Favorite
  • .
  • Email
  • .
  • Add Tags 

Music & Copyright’s annual survey of the recorded-music and music publishing sectors has revealed the changes in global market share for the three major music groups and the independent sector. Recorded-music leader UMG maintained the top spot with an increase in both its physical and digital market shares. Second-placed SME suffered a dip in its recorded-music share, while smaller major WMG continued its upward trend and registered a share increase. A repeat of 2016 saw independent record companies collectively account for the biggest share. Sony remained the leader in terms of corporate music publishing control after registering the best year in the company’s history. UMPG suffered a slight fall in share, while Warner/Chappell and the collective share of the independent publishing sector were unchanged.

UMG extends recorded-music lead
UMG had a 29.7% share of combined physical and digital recorded-music trade revenue last year, up from 29% in 2016. For just digital revenue, UMG’s share stood at 32%, while its physical share was 25.4%.

Record companies, physical- and digital-revenue market shares, 2016 and 2017
Source: Music & Copyright

SME was the second-largest music company, although its combined physical/digital market share slipped last year, to 21.9%, from 22.9% in 2016. SME registered a year-on-year fall in both physical and digital market shares. The company’s share of all recorded-music trade revenue, which includes licensing and other revenue as well as income from physical and digital music sales, was also down, to 22.3%, from 23.2%.

Record companies, total recorded-music-revenue market shares, 2017
Source: Music & Copyright

The smallest of the majors, WMG, experienced a mixed year in digital and physical shares. The company’s digital share increased, to 18.1%, from 17.6%, while its physical share edged down, to 12.8%, from 13.1%. WMG’s combined physical/digital share grew, to 16.2%, from 15.8%, and its total revenue share was up, to 15.8%, from 15.4%.

UMG was the single biggest record company, but independent record companies’ combined physical/digital revenue share was higher than the leader last year, at 32.2%. The independent company sector increased its share of both physical and digital revenue, but there remained a sizable difference between its physical and digital shares.

It is worth pointing out at this stage that following last year’s review of our music publishing share methodology, we have made similar changes to the way we determine recorded-music shares. Our calculations are now based on a much more comprehensive assessment of the recorded-music sector and allow for greater accuracy in the standings of the three majors and the independent companies. The change has meant we have restated the previously published 2016 figures.

Positive year for music publishing
In line the way in which Music & Copyright determines global recorded-music market shares, music publishing market shares are also based on revenue received by each company. Music & Copyright has calculated that global music publishing revenue grew 11.2% last year, to $4.92bn, from $4.42bn in 2016. Sony increased its leading position following the best year in the company’s history. Earnings were boosted by a record growth in streaming. Moreover, the company published the IFPI’s top three artists of last year, Ed Sheeran, Drake and Taylor Swift. Sony accounted for 27.3% of global publishing revenue, up from 27% in 2016.

Music-publishing companies, revenue market shares, 2016 and 2017
Source: Music & Copyright

UMPG was the second-largest music publisher last year. Music & Copyright estimates the company’s share edged down, to 19.5%, from 19.8% in 2016. Third placed Warner/Chappell’s share was unchanged at 12%. Also unchanged last year was the indie share. Independent music publishers have long dominated music publishing and continue to compete well with the majors for major artists’ attention. Music & Copyright estimates that independent companies accounted for 41.2% of publishing revenue in 2017.

If you would like more information about the newsletter or set up a subscription then send us an

Read Full Article
Visit website
  • Show original
  • .
  • Share
  • .
  • Favorite
  • .
  • Email
  • .
  • Add Tags 

The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.

UMG and WMG make recorded-music market-share gains; Sony outperforms in publishing
Music & Copyright’s annual survey of the recorded-music and music-publishing sectors has revealed the changes in global market share for the three major music groups and the independent sector. Recorded-music leader UMG maintained the top spot, with an increase in both physical and digital market shares. Second-placed SME suffered a dip in its recorded-music share, while smaller major WMG continued its upward trend and registered a share increase. A repeat of 2016 saw independent record companies collectively account for the biggest share. Sony remained the leader in terms of corporate music publishing control, after registering the best year in the company’s history. UMPG suffered a slight fall in share, while Warner/Chappell and the collective share of the independent publishing sector were unchanged.

Return to growth for Dutch neighboring rights society SENA
SENA, the Dutch collection society representing performers and producers (record companies), has reported a rise in total licensing income for 2017. Domestic receipts increased for the third consecutive year and more than offset a second annual dip in international collections. Total domestic invoiced licensing revenue registered growth, but overseas invoiced revenue fell. In contrast, distributions in the Netherlands last year were down, while payments abroad were up. General licensing was the biggest collection source for SENA members, ahead of broadcasting. SENA noted in its annual report that the first full year of operation of its joint venture service center created with the authors’ society BUMA has brought the expected efficiency benefits. SENA also said that greater cooperation with BUMA on other joint initiatives is a possibility.

Regulation is just the ticket for live music events
Regulators around the world are starting to crack down on event ticket abuses. The key targets in many markets are the sharp practices of secondary ticketing operators, which have been the cause of much consumer complaint for some time. But also in regulatory sights is the widespread lack of price transparency and the use of automated bots to sweep up tickets for resale. And while the live music sector is welcoming of such regulation, there’s also an opportunity for private companies to deploy technological solutions to further help live music fans.

Finland country report
In addition to the usual set of music industry statistics and news briefs, the latest issue of Music & Copyright includes a detailed Finland music industry report. Finland is outside of the global top 20 for revenue from recorded music. But, despite its small size, the country is a market leader in the digital transition from ownership to access. Subscription services already account for more than two-thirds of recorded-music trade earnings in the country and this share is expected to rise further as the reliance on physical formats continues to drop and sales of downloads disappear. The streaming boom means digital trade sales now generate close to 90% of the total market. UMG enhanced its leading position last year with a modest rise in market share while SME took second place from WMG. Royalty earnings collected by authors’ society TEOSTO were down slightly year on year. However, continued growth in digital collections meant the revenue stream increased its share of total royalty receipts to 13.7%. Indications suggest Finland’s live sector registered a good year. Despite lower ticket sales to festivals, attendance at events increased year on year.

If you would like more information about the newsletter or set up a subscription then send us an

Read Full Article
Visit website
  • Show original
  • .
  • Share
  • .
  • Favorite
  • .
  • Email
  • .
  • Add Tags 

The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.

IFPI reports big rise in recorded-music trade sales
Global recorded-music trade earnings increased 8.1% last year, to $17.3bn, from $16.0bn in 2016, according to figures published by the IFPI. The rise marked the third consecutive year of growth since the IFPI began tracking the market in 1997. Revenue from digital formats and services increased 19.1%, to $9.4bn, from $7.9bn, while trade earnings from physical formats generated revenue of $5.2bn, down 5.4%, from $5.5bn. The rate of decline in physical format income was tempered by the ongoing revival of the vinyl format. Performance rights generated $2.4bn of revenue last year, up from $2.3bn in 2016, while synchronization earnings stood at $0.3bn.

Live streaming has a new champion in the making
Audiences have taken to watching live streams of performances at leading festivals and concert venues, with the likes of Ultra Music Festival, Coachella, and Live Nation among those embracing the format. To date, live-streaming efforts have been fairly piecemeal, and no single technology provider has emerged to own the space and push it forward. But this might be about to change, as ambitious provider LiveXLive continues to sign partnership deals with leading promoters. However, simple live streaming may not be enough to win over music fans in the long term; further innovation is needed to make it a highly engaging medium.

Three straight years of collection growth for SACEM
French collection society SACEM has reported a third successive year of growth in collections, with income and distributions both topping previous record levels. Domestic revenue and income from mandates all registered a year-on-year rise in 2017. Collections from broadcasting edged down, and mechanical receipts continued the downward trend, but royalty earnings from all the other main income sources registered growth. Moreover, in a repeat of both 2015 and 2016, private copying and online were the biggest gainers. In addition to the good year for collections, SACEM-member authors’ rights distributions also registered growth. The authors’ society noted that it restated its 2016 figures to reflect contractual changes with the mechanical rights society SDRM, which came into effect last year as part of a push to improve transparency in reporting.

Wolfgang’s Vault operators guilty of copyright infringement over streaming of iconic live recordings
A New York court has sided with some of the world’s biggest music publishers in a long running copyright infringement case involving the unlicensed download and streaming of a number of live performances by some of the world’s biggest artists. The service, Wolfgang’s Vault, has been buying up live audiovisual performances for several years and making them available on different websites. Although the service owners claimed to hold the correct mechanical licenses to distribute the recordings, the court decided otherwise and ruled that the service was guilty of copyright infringement. However, the court did not grant the publishers an injunction to shutter the websites. A future trial will determine if the copyright infringements were willful and set damages accordingly.

If you would like more information about the newsletter or set up a subscription then send us an

Read Full Article
Visit website
  • Show original
  • .
  • Share
  • .
  • Favorite
  • .
  • Email
  • .
  • Add Tags 

The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.

SoundCloud must put faith in its creators to survive and thrive
Germany-based SoundCloud has been involved in music streaming longer than sector leader Spotify, but to date it has been unable to turn an evident appetite for its “social” music services into a sustainable commercial operation. The company was forced into a major reorganization last year, losing a good chunk of staffers in the process. However, it also picked up a fresh cash injection and an experienced management team, which might be able to squeeze more value out of SoundCloud’s most valuable resource: its artists.

Australian Senate committee backs incremental approach to safe-harbor expansion
In December, the Australian Senate referred the newly introduced Copyright Amendment (Service Providers) Bill 2017 to a committee for inquiry, with a view to reporting back with a recommendation in March. In short, the bill deals with the extension of the safe-harbor scheme to a broader range of service providers. As part of the inquiry process, the committee requested submissions from interested parties and then held a public hearing. The resulting report reviewed the bill and outlined the principal issues raised, along with the committee’s findings and a recommendation. Although the committee said the Senate should pass the bill, it said it agreed with the government’s decision to make an incremental expansion of the safe harbor scheme, so that it can continue to consult on how best to reform the scheme to apply to other online service providers.

Miley Cyrus the latest artist on the end of a lyrics plagiarism claim
Miley Cyrus has become the latest high-profile artist to be targeted by a copyright infringement claim. In March, Jamaican singer-songwriter Michael May accused the US performer, her songwriting and production team, and her record company and publisher of plagiarizing a short original lyric phrase that he created for his recording We Run Things. Although the phrase was altered slightly in the Cyrus track We Can’t Stop, May’s copyright infringement claim goes beyond simple copying, with accusations that Cyrus used cultural elements drawn from his track as a basis for her transformation as an artist and performer. May is reportedly claiming upwards of $300m in damages as well as an injunction preventing any further sales and performance of the Cyrus track.

South Africa country report
In addition to the usual set of music industry statistics and news briefs, the latest issue of Music & Copyright includes a detailed South Africa music industry report. South Africa is Africa’s biggest music market. Consumer spending on recorded music and live performance as well as royalty collections are significantly higher in the country than in any other market in the region. Despite its geographic location, South Africa more closely resembles a Western music market and has far more in common with many countries in Europe and North America than it does with its neighbors. Although this means per-capita spending on music is high compared with other African countries, the same problems encountered in the developed world in the shift from physical formats to digital and downloads to access, have been experienced in South Africa. Music piracy rates are extremely high and despite government promises to amend copyright laws and increase intellectual property rights protection, the piracy problem persists. But, although the rise in high-speed internet access has exacerbated problems associated with the unauthorized distribution of music, higher digital sales, rising smartphone penetration, and the rollout of several international streaming services suggests the market may well have a bright future.

If you would like more information about the newsletter or set up a subscription then send us an

Read Full Article
Visit website
  • Show original
  • .
  • Share
  • .
  • Favorite
  • .
  • Email
  • .
  • Add Tags 

The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.

Spotify’s direct listing in New York sheds light on the company’s inner workings
After months of speculation, global on-demand audio streaming leader Spotify has finally filed all the necessary documentation with the US Securities and Exchange Commission (SEC) confirming its move to go public. The company will list on the New York Stock Exchange (NYSE) in the next month or so under the symbol SPOT. Rather than go down the more common IPO route, Spotify decided on a direct listing and is not issuing new shares. Instead, existing shareholders will be free to sell their shares through brokerage transactions. As is the case with all listings, documents filed with the SEC lift the lid on previously unseen financial and operating metrics. This research note picks out some of the more interesting insights surrounding the financial standing of the service, its popularity, and what the details tell us about the wider music streaming market.

Musicautor celebrates 25th year with return to collections growth
Bulgarian authors’ society Musicautor has marked a quarter of a century of operations by recording a rise in collections. The three biggest sources of income – TV, radio, and general licensing – all registered growth last year, more than offsetting a drop in collections from retransmission, digital, and live concerts. In its business report, Musicautor noted difficulties associated with the administration of digital music rights and its inability to process reports from several of the major music services. Although the withdrawal of Anglo-American repertoire administration a few years ago by music publishers as part of their move to create pan-European licensing hubs hit digital collections, the lack of technical ability to process reports from the international digital platforms is a major challenge. General licensing revenue returned to growth after a decline the previous year, and mechanical collections grew sharply following the completion of a deal with the local producers’ association.

Brands get to grips with social change initiatives through live music
Brands have long supported live music events, but simply stumping up cash to sponsor a stage, festival tent, or bar has quickly became something of yesteryear with the onset of social media and more intimate B2C communications. However, racking up substantial online metrics only goes so far, and a number of brands are now looking to do good in the community and engage in social change initiatives through live music. This is a riskier strategy than simply hanging a banner over a stage, and brands need to make sure they choose their partners and social issues carefully.

China country report
In addition to the usual set of music industry statistics and news briefs, the latest issue of Music & Copyright includes a detailed China music industry report. China is the world’s most populous country, with close to 1.4 billion people. It is also home to the second-biggest economy. Last year saw the country’s economy grew 6.9%, the first time in seven years that annual growth has accelerated. The increase was also higher than the Chinese government’s forecast of 6.5%. In line with the optimism surrounding the economy, certain sections of China’s music industry are starting to show signs that it is living up to its long-held potential. In the past, there have been several false starts. More recently, though, glimmers of optimism look set to turn into real sales. The latest IFPI figures showed trade revenue registered healthy growth in 2016, after a big jump in earnings in the previous year. Aside from slight increases in minor digital formats, all the growth in the last few years has come from streaming. Ovum has estimated that growth continued last year, and more is set to come.

If you would like more information about the newsletter or set up a subscription then send us an

Read Full Article
Visit website
  • Show original
  • .
  • Share
  • .
  • Favorite
  • .
  • Email
  • .
  • Add Tags 

The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.

Slowdown in streaming growth rates casts doubt on a return to the glory years
Later this year, global trade body the IFPI is set to report the most positive year for recorded-music sales this century. Audio subscriptions will undoubtedly be the star of the show, and the combination of subscription payments and advertising income will boost streaming to the top of the earnings pile. The continuing vinyl revival will soften the rate of decline in physical format revenue, but it’s a safe bet that audio subscriptions will have become the single biggest revenue source. The rise of the paid subscription from a niche revenue source just a few years ago is impressive, and the year-end record-company results have illustrated the importance of access services to the companies’ bottom lines. There are, however, signs that the big gains in streaming revenue are slowing. While it is certainly much too early to suggest that the access service bubble is anywhere near close to bursting, its rate of inflation is slowing down and could well become a cause for concern in the next year or so.

Positive year-end for Pandora as subscription gains drive revenue growth
Online radio and music subscription service Pandora has reported a positive end to its 2017 financial year. Revenue beat expectations, with higher subscriber earnings more than compensating for a flat year for advertising. Net losses for Pandora more than halved in the final quarter, although there was sizable growth in net losses for the full year. Although listener hours and the number of active listeners in the final quarter fell year on year, the number of paid subscribers increased. During the earnings call, Pandora’s senior executives commented that the proportion of its audience listening through voice-activated devices was growing sharply. Moreover, the company confirmed that plans were well on the way to expand beyond recorded music, with podcasts set to be added to its current range of audio content.

French recorded-music sales see second consecutive year of growth
French music trade association SNEP has reported a second straight year of growth for trade earnings from recorded-music sales. The rise marked only the third time in the last 10 years that trade sales have registered an uptick. Subscriptions and ad-supported streaming were the two growth sectors with sales of single track and album downloads falling sharply. In a repeat of 2016, the overall performance was buoyed by a modest dip in trade earnings from physical format sales with digital more than offsetting the physical losses. However, physical formats still accounted for the majority of trade revenue, and despite the streaming gains, concerns remain over the medium-term prospects for the French recorded-music sector should the rate of decline in CD album sales begin to accelerate.

India country report
In addition to the usual set of music industry statistics and news briefs, the latest issue of Music & Copyright includes a detailed India music industry report. India is one of a small number of countries often tagged as an emerging market with great potential to become a major market of the future. With the population ending last year at more than 1.3 billion and an economy that is growing steadily, tapping into what is a market ripe for exploitation is always high on the recorded-music industry’s list of priorities. However, despite the promise, India has so far failed to live up to its emerging tag, with positive results one year followed by poor sales the next. The biggest problem for the country is piracy. Retailers have always struggled to compete in a market flooded with illegal copies. Moreover, rising internet penetration brought with it increased access to unauthorized music distribution sites and services. Developments in the last year or so have suggested that streaming may be the way out of the piracy problem, but the road to prolonged higher sales and meaningful returns is likely to be a long one.

If you would like more information about the newsletter or set up a subscription then send us an

Read Full Article
Visit website
  • Show original
  • .
  • Share
  • .
  • Favorite
  • .
  • Email
  • .
  • Add Tags 

The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.

EC backs blockchain with the rollout of Observatory and Forum
The European Commission (EC) has created the EU Blockchain Observatory and Forum (BOF) to highlight key developments in blockchain technology and promote European stakeholders actively involved in blockchain activities. The BOF is set to work alongside established funding projects and research programs. Blockchain technology, on which cryptocurrency Bitcoin is built, is being held up by reformers in the music industry as a means of creating a fairer distribution system for content creators. Proponents say it could bring transparency to rights metadata, instant remuneration to artists, and new forms of monetization to music.

Appeals court orders new trial in Cox–BMG copyright infringement case
US ISP Cox Communications and music rights management company BMG must face each other again in a copyright dispute, following a decision by a Fourth Circuit panel of judges to remand for a new trial. Cox was sued for copyright infringement by music companies BMG and Round Hill Music in 2014. Round Hill was removed from the case on the grounds that the publisher had not proved exclusive ownership of the rights to the music cited as being infringed. A Virginia district court ruled at the end of 2015 that Cox was guilty of willful contributory copyright infringement and awarded BMG $25m in damages. The ISP appealed the decision, but the district court dismissed the claim. Cox subsequently filed an appeal with the Fourth Circuit. That court has now upheld the district court’s decision that the ISP is not entitled to the safe harbor protection defense, but ruled that a new trial must be held because of certain errors in jury instructions.

New York court rules no copyright infringement in U2 plagiarism claim
A New York federal judge has ruled that U2 did not copy any part of English songwriter and performer Paul Rose’s track Nae Slappin for the creation of the band’s hit song The Fly. Rose had claimed that U2 had infringed his copyright by willfully copying fragments from his track to create a guitar solo for The Fly. However, the judge found that Rose did not plead a plausible claim of infringement and that his claims were too vague. The judge also said that no reasonable juror listening to the entirety of the two songs could find that they were similar. Most music plagiarism cases rarely reach court given the difficulties for authors in establishing whether another author has copied their work. Equally problematic is the cost of bringing cases to court, particularly given that an accused will often have significant resources with which to defend any claim.

If you would like more information about the newsletter or set up a subscription then send us an

Read Full Article
Visit website
  • Show original
  • .
  • Share
  • .
  • Favorite
  • .
  • Email
  • .
  • Add Tags 

The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.

Apple betting on the HomePod to close the gap with Spotify
Apple has finally confirmed the rollout date for its HomePod smart speaker. The US, UK, and Australia will be the first countries to receive the device when it goes on sale February, followed by France and Germany in a couple of months. Marketing for the HomePod is focusing heavily on the device’s music capabilities and audio quality, and Apple is hoping that sales will boost subscriber numbers to its music subscription offering and close the gap on the leader Spotify. The price of the HomePod is significantly higher than that of the smart speakers currently on the market, but Apple is probably hoping that it will be able to repeat its success in the portable music and smartphone sectors and turn what looks like a late entry to market into an advantage.

Rights-owning Facebook looks to make music much more social
Having recently signed a series of music industry agreements, Facebook is beginning to show real intent in music, while at the same time ramping up the pressure on YouTube. The driving force behind this is the social network’s belief that it can make its platforms more engaging with video. And the experience of its new Watch video hub suggests it might well be right. However, with the new rights deals in its back pocket, Facebook now needs to develop new products that will deliver immersive “social music” experiences to its users – and Asia’s Tencent may well already be showing the way forward.

Japan set for a full-year fall in recorded-music sales
New figures published by Japanese recorded-music trade association the RIAJ show that the total production value of physical formats and the number of units produced were down last year compared with 2016. Both audio and video formats suffered a production dip, although, in a repeat of 2016, the rate of decline was fairly modest compared with some of the sizeable falls experienced in a number of other developed markets. Full-year figures for digital trade earnings are set for publication in February, but based on digital revenue in the first nine months of the year, the world’s second-biggest recorded-music market looks set to register an overall decline.

Canada country report
In addition to the usual set of music industry statistics and news briefs, the latest issue of Music & Copyright includes a detailed Canada music industry report. Canada is one of the world’s larger music markets. For recorded music, it sits just outside of the top five, behind France. However, last year saw recorded-music consumption increase at more than double the rate of the previous year. Growth in on-demand audio streaming easily offset declines in download and CD album sales, while the vinyl revival continued with sales of the age-old format rising for the seventh consecutive year.

If you would like more information about the newsletter or set up a subscription then send us an

Read Full Article
Visit website
  • Show original
  • .
  • Share
  • .
  • Favorite
  • .
  • Email
  • .
  • Add Tags 

The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.

Smaller streamers look for an edge in a big-player market
The music-streaming sector’s leading lights made serious moves at the tail-end of last year, and the battle to dominate the subscription segment is set to sharpen in 2018. Amazon, Google, Apple, and Spotify are all looking to gain extra edge in a competitive market, making it difficult for the smaller services to remain relevant and play a leading part in the rapidly evolving sector. However, Pandora, Deezer, and Tidal haven’t given up the fight and are looking to carve out their own segments, largely with the help of bigger partners.

UK ISPs ordered to block access to illegal streaming service servers
Last year, the UK High Court issued its first order to block access to unlicensed streaming service servers. The handing out of blocking orders to an ISP by a court is quite common, and rights holders for several years have applied to courts to force ISPs to prevent their subscribers from accessing websites or torrent trackers that host or provide access to unlicensed music and media content. Given the shift in the way recorded music is accessed now, rather than owned, unlicensed streaming services are growing in number, and so blocking internet users from visiting certain websites is no longer the answer to the problem. At the end of last year, the High Court issued a new blocking order. Like the previous order, the block was to prevent internet users from viewing live soccer matches. The High Court action could have implications for the recorded-music industry’s attempts to prevent internet users from accessing unlicensed content.

Publisher Wixen files copyright infringement lawsuit against Spotify
Spotify has been hit with new legal action accusing it of willful copyright infringement. The lawsuit, filed by Wixen Music Publishing at the US District Court for the Central District of California, Western Division, claims that Spotify has reproduced and streamed music penned by its songwriters without permission. The lawsuit, which is requesting the maximum statutory damages for each infringement, described a previous settlement between Spotify and a class action group concerning similar claims as inadequate. It accused the service of building a multibillion-dollar business without ensuring that the music available had been properly licensed. The timing of the lawsuit’s filing was prompted by the introduction of the Music Modernization Act into the House of Representatives which aims at overhauling the US mechanical royalty system. The bill includes a clause preventing rights holders from filing similar mechanical rights–based copyright claims after the end of 2017.

US country report
In addition to the usual set of music industry statistics and news briefs, the latest issue of Music & Copyright includes a detailed Australia music industry report. The US is the biggest music market in the world. Not only does it account for around one-third of global recorded-music sales, it is home to the world’s largest live music sector and the single biggest live music promoter, Live Nation Entertainment. The US also has two of the leading authors’ rights organizations, ASCAP and BMI, and has quickly become the biggest performance rights market for record companies and performers, despite the fact the country’s collection agency, SoundExchange, only collects royalties from digital music services.

If you would like more information about the newsletter or set up a subscription then send us an

Read Full Article
Visit website

Read for later

Articles marked as Favorite are saved for later viewing.
close
  • Show original
  • .
  • Share
  • .
  • Favorite
  • .
  • Email
  • .
  • Add Tags 

Separate tags by commas
To access this feature, please upgrade your account.
Start your free month
Free Preview