CD Baby has acquired Show.co, the digital music marketing platform; and the indie digital distributor has big plans for it and Show.co’s Soundrop app, which was at one time the most popular playlisting and social listening app for Spotify.
Show.co offers digtal tools used by 5000 artists and labels to share content and collect fan data. CD Baby says there will be no disruption of services after the acquisition. “For existing Show.co customers, it will be business as usual,” says Kevin Breuner, VP of Marketing at CD Baby.
Source: CD Baby Acquires Show.co, Soundrop To Expand Artist Services, Pledges New Distribution Approach That Favors Constant Creation – hypebot
CISAC, the organisation that brings together all the song right collecting societies around the world, has published its annual Global Collections Report, bringing together all sorts of data and figures for 2015. Together, monies collected by all those collecting societies topped €7.5 billion last year, up 8.5% year-on-year.
CISAC also counts amongst its membership some collecting societies that represent other groups of creators from the audio-visual and visual art communities, meaning that the total figure recorded in the report is €8.6 billion.
Source: Song right societies collected €7.5 billion last year, says CISAC report | Complete Music Update
Throughout the history of the music business, the goal was always the same: get people to purchase records. Once that purchase was made, it didn’t matter whether the record was played or not.
But streaming has completely changed the game. For the first time, financial success is no longer based on one-time sales, but on ongoing streams. The more a track is played, the bigger the payout. The implications of this shift are massive.
Source: How Streaming Is Changing The Sound Of Pop Music – hypebot
Independent film financing has never been a walk in the park, and a lukewarm American Film Market this month coupled with an age of political, digital and economic uncertainty mean the preselling game has become more challenging than ever.
But if there’s one thing that could kill off the entire indie business as we know it: a series of regulations being mulled over in Europe right now with regard to the European Commission’s strategy for a Digital Single Market. Indeed, it’s a complex issue, but at its beating heart lies a dangerous prospect for the future of the audio-visual sector, which threatens to dismantle territory-by-territory licensing in Europe.
Source: Europe’s Digital Single Market: How It Could Kill The Indie Biz | Deadline
One of the most instructive programs on the Publishing Perspectives Stage at Frankfurt Book Fair last month was a special presentation of “Ten Rights Hacks” from US-based rights expert Kris Kliemann, who until recently directed global rights for John Wiley & Sons, and Jane Tappuni, who leads business development and marketing for the transactional rights marketplace IPR License.
Here’s a review of the ten points that Tappuni and Kliemann offered to the audience, with some of their comments. As in any good Top 10 list, Kliemann and Tappuni started with No. 10 and worked backward.
Source: Ten Rights Hacks: Actionable Advice From Two Key Players
UK record labels’ association, the BPI, has launched the BPI Innovation Hub – a new forum that seeks to harness the potential of creativity and innovation by matching innovative tech companies with record labels that are looking to utilise new technology in their business.
The BPI will look to convene the Innovation Hub on a quarterly basis, inviting selected companies to meet with and present to each other with the aim of developing productive business partnerships that will generate long-term commercial opportunities.
Source: Media Centre
A group representing 10,000 commercial radio stations has filed a lawsuit against Irving Azoff’s Global Music Rights, hoping to force the performance rights organization to submit to Department of Justice-controlled pricing, similar to other PROs ASCAP and BMI.
GMR was created in 2014 by Azoff and Madison Square Garden Entertainment as a way to generate more revenue for its songwriters. Unlike other PROs, GMR was not governed by a 75-year-old consent decree that controlled how much it charged radio stations, venues, restaurants and other commercial music users for the performance of music within its repertoire.
Source: 10,000 Radio Stations File Suit Against Azoff’s Global Music Rights – hypebot