Utopia Music’s strengths play well with Lyric Financial’s data analysis to determine the amount of financing it can provide an artist. Its core product is an online platform for creators, rights holders and collection societies that tracks global usage data and maximizes a catalog’s revenues — its tagline is “fair pay for every play.” A separate service for investors helps them value and assess risk when acquiring a recording or publishing catalog. In September, Utopia acquired artificial intelligence startup Musimap to improve recordings’ metadata — information about performers, songwriters and rights owners that requires accuracy for the parties to be paid properly. Investors and the companies they back are increasingly funding artists who look to Chance the Rapper, who put three a...
Both Sweeney and the guest’s DJ mixes will then be available on the Beats In Space show page, along with on-demand guest interviews. Sweeney’s debut guest is English electronic artist Planningtorock, with their mix featuring music from their 2021 EP Gay Dreams Do Come True, along with edits they’ve done for Romy and Lady Gaga and favorite tracks by Jimmy Somerville, Arca and more. Influenced by the UK’s pirate radio culture, Sweeney began Beats in Space in 1999 while a student at NYU, with his program giving a platform to the then almost entirely underground world of techno, house, ambient and more. He’s done more than 1,000 episodes of Beats In Space since the show’s launch, with guests throughout the years including stars like Gerd Janson, Carl Cra...
Yet Adele’s blockbuster return has been different than her peers’ major debuts in one significant way: her one new song is causing all her older songs — yes, all of them — to dramatically surge on streaming platforms as well. As “Easy On Me” crowns the Hot 100 in its first full week of release (the single debuted at No. 68 on last week’s chart based solely on its first five hours of availability), listeners have also flocked to her old albums. For the week ending Oct. 21, the total U.S. on-demand streams for Adele’s 2008 album 19, 2011’s 21 and 2015’s 25 increased a whopping 93% to 11.34 million streams, 79% to 25.86 million and 93% to 33.39 million, respectively, compared to the prior week, according to MRC Data. Multiple songs earned even greater streaming i...
South Park creators Trey Parker and Matt Stone are opening up about the iconic cartoon’s expansion to Paramount+. Speaking to The Hollywood Reporter, the duo talked about their plans to release a total of 14 “made-for-TV movies” over the next seven years on the streaming service as part of the $900 million deal they’ve inked with ViacomCBS. “With Viacom, we realized we could make them as long or as short as we needed,” Parker stated, while Stone added, “We’re trying to make what’s on Paramount+ different from anywhere else, so hourlong made-for-TV movies is where our head is at. We’ll do two made-for-TV movies every year. They will be big, but they are not quite movie scale.” Advertisement Related Video The first film, South Park: Post Covid, will premiere on November 25th; a second as-yet...
Spotify landed within prior guidance for the third quarter and reached the high end of expectations for revenue and monthly active users. In other words, the company met expectations and didn’t unveil the kinds of surprises investors hate. What’s more, the company raised its expectations for fourth quarter revenue and gross margin. That’s good news for both investors and anybody due to receive royalties. The fourth quarter is peak season for subscription services and no time to disappoint. Spotify added 11 million subscribers in each of the last two fourth quarters, almost double its average for the first through third quarters of both years. Appropriately, CEO Daniel Ek said during Wednesday’s earnings call, “We’re all hands on deck to make sure the positive trend continues.” What t...
“Through the pandemic, streaming services became even more indispensable, allowing us to enjoy the music we love, even when live performances were shut down. But with the exponentially increasing market power of a few tech platforms, the voices of independent musicians are getting harder to hear,” said Deutch in a statement. “By empowering a more diverse chorus of voices to negotiate fair terms and rates for their music, the Protecting Working Musicians Act recognizes the fundamental value of music and gives working artists a fair shot.” “The power imbalance must be addressed by Congress so that creators and independent labels can band together to fight for fair compensation and against anti-competitive schemes that devalue music,” said A2IM president/CEO Richard Bur...
Like a twisted game of limbo, songwriters and artists are constantly asked to go lower and lower, and only the streaming companies win. As Billboard reports, on October 21st, several major streamers filed to the US Copyright Royalty Board (CRB) proposing royalty rates for 2023-2027. Three of the biggest platforms — Spotify, Amazon, and Pandora — are recommending a significant reduction in royalty rates over the 2018–2022 period. These upcoming four years, 2023-2027, are known as CRB Phonorecords IV, denoting the fourth period of rate determination. It follows Phonorecords I for 2008–2012, Phonorecords II from 2013–2017, and Phonorecords III from 2018-2022. Phonorecords III represented an increase over the previous two periods, escalating over time and culminating in a r...
Music streaming services like Spotify — which has been a vocal critic of the service fees charged by Apple’s App Store specifically — will now be “eligible” for a service fee as low as 10%, Samat writes, though he refrained from laying out eligibility requirements in the post. That benefit will extend to ebooks, which was folded into Google Play’s “Media Experience program” earlier this year alongside on-demand music streamers. Samat adds that the fee cut was being implemented “to better accommodate differences in these categories,” for which “content costs account for the majority of sales.” “The new rates recognize industry economics of media content verticals and make Google Play work better for developers and the communities of artists, musicians and authors they represent,...
Music streaming services like Spotify — which has been a vocal critic of the service fees charged by Apple’s App Store specifically — will now be “eligible” for a service fee as low as 10%, Samat writes, though he refrained from laying out eligibility requirements in the post. That benefit will extend to ebooks, which was folded into Google Play’s “Media Experience program” earlier this year alongside on-demand music streamers. Samat adds that the fee cut was being implemented “to better accommodate differences in these categories,” for which “content costs account for the majority of sales.” “The new rates recognize industry economics of media content verticals and make Google Play work better for developers and the communities of artists, musicians and authors they represent,...
During her time at Spotify, Ong — the daughter of a Persian mother and a Chinese father who fled the Iranian revolution when she was a baby — has helped launch the streamer’s RADAR emerging artist program, which has spotlighted artists including Griff, Park Hye Jin, Joy Crookes and Young T & Bugsey. Prior to Spotify, Ong served as global vp and head of marketing at rival streaming service Deezer for two-and-a-half years, working directly with labels and content creators. She kicked off her music career in 2004, when she was hired as an international marketing manager, artist development at Sony BMG Music. She later worked in a variety of artist management and marketing roles at The Family Entertainment, Live Nation, Silver Horse Entertainment and app developer WholeWor...
During her time at Spotify, Ong — the daughter of a Persian mother and a Chinese father who fled the Iranian revolution when she was a baby — has helped launch the streamer’s RADAR emerging artist program, which has spotlighted artists including Griff, Park Hye Jin, Joy Crookes and Young T & Bugsey. Prior to Spotify, Ong served as global vp and head of marketing at rival streaming service Deezer for two-and-a-half years, working directly with labels and content creators. She kicked off her music career in 2004, when she was hired as an international marketing manager, artist development at Sony BMG Music. She later worked in a variety of artist management and marketing roles at The Family Entertainment, Live Nation, Silver Horse Entertainment and app developer WholeWor...