Islington Assembly Hall // Assistant Bars and Duty Manager (London)

Wienerworld // Social Media and Marketing Assistant (London/Hybrid)

FEAT // Junior Policy Officer/Industry Liaison (Remote/London)

Ninja Tune // Marketing Assistant (London/Hybrid)

Erased Tapes Records // Label & Production Manager (London)

ICE Licensing // Senior DSP Audit & Assurance Manager (London)

ICE Licensing // DSP Audit and Assurance Manager (London)

Today's music business news

TOP STORY

YouTube to allow labels to remove AI-generated voice clones

YouTube has announced that it is introducing a new system via which its partners in the music industry will be able to request the removal of AI-generated music content that mimics the voice of a specific artist without permission.

The new tools will initially be available to those record labels and music distributors working with YouTube on its music AI experiments, and will then be rolled out more generally.

The Alphabet-owned company will develop policies regarding when to remove AI-generated cloned vocals at the request of a label or distributor and - perhaps more importantly - when such a request might be ignored.

There has been much discussion this year, of course, about the use of AI tools to imitate an artist's voice. The Ghostwriter track with vocals imitating Drake and The Weeknd - and subsequent moves by the music industry to get that track removed from the streaming services - was particularly newsworthy.

YouTube has been keen to position itself as a trustworthy partner for the music industry as it tackles the challenges and opportunities posed by ever more sophisticated generative AI, publishing three guiding principles around music AI back in August.

It is also thought to be working with the music industry on developing tools that would allow fans to generate vocals using a specific artist's voice, with the permission of said artist. This means that it has a vested interest in stopping the distribution of content of that kind that is produced without artist consent.

Quite how the new voice clone management tools will work on the industry side remains to be seen. Training an AI model to imitate an artist's vocals likely requires making use of an artist's recordings which will be controlled by the label or distributor. However, labels and distributors do not generally have wide-ranging involvement in an artist's publicity or personality rights, which are also being exploited.

YouTube announced a number of other measures yesterday regarding how it will manage the publishing of AI-generated content on its platform. That includes a new obligation on content creators to declare if they have used AI tools to create "altered or synthetic content that is realistic". That fact will then be sign-posted alongside the content within the YouTube platform.

People will also be able to request the removal of "AI-generated or other synthetic or altered content that simulates an identifiable individual, including their face or voice" via YouTube's privacy request process.

Again, not all such content will necessarily be removed, with YouTube stating that it will “consider a variety of factors when evaluating these requests. This could include whether the content is parody or satire, whether the person making the request can be uniquely identified, or whether it features a public official or well-known individual, in which case there may be a higher bar".

ONE LINERS

One Liners: Dido, Basement Jaxx x 100 gecs, Lil Uzi Vert + more

DEALS

Warner Chappell has signed Dido to a new publishing deal, covering her back catalogue and new material. “Warner Chappell have been there for me from the very beginning of my songwriting journey, well over 25 years ago”, she says. “They gave me my start and helped me create the songs that were the foundations of my first record and then over the years continued to be family. I’m excited for all the things we will create together now”.

Laufey has extended her deal with Sony Music’s AWAL, following the successful release of her debut album ‘Bewitched’ in September. “AWAL’s steadfast commitment to my creative autonomy has been essential in providing me the space and freedom to create music on my own terms”, she says. “Their drive and progressive vision for the music industry runs through the company, and I’m over the moon to extend our partnership”.

IDOL has signed a label services deal with Tokimonsta's Young Art Records. “As Young Art Records celebrates its tenth anniversary, we are pleased to announce our partnership with IDOL”, says label co-founder Lewis Kunstler. “This collaboration will empower our team, expand our reach, and enhance our presence on a global scale. We look forward to this new chapter as well as the opportunities it will bring to share our passion for music with an even wider audience”.

APPOINTMENTS

Kobalt has promoted Melissa Emert-Hutner to SVP Creative. “I am deeply honoured to have the opportunity to be a member of this remarkable publishing company’s A&R team”, she says. “Kobalt's exceptional roster of the world's most talented music creators, its innovative technology and dedicated global creative team are truly unmatched”.

US live music sustainability organisation the Sound Future Foundation has appointed Kelci Zile as Chief Development Officer. “Live events are a phenomenal testbed to demonstrate that sustainability can be as good for the Earth as it is for the bottom line”, she says. “We need solutions that meaningfully cut emissions and increase profit to come to market as soon as possible. I could not be more excited to bring my data and returns-driven lens to the Sound Future team as we leverage the power of live events to pave the way for mass adoption of these technologies”.

RELEASES

XL Recordings has released 100 gecs’ remix of Basement’s Jaxx’s ‘Where’s Your Head At?’ with which they opened their Boiler Room set earlier this year. As well as being available digitally, it is also being released on twelve-inch, limited to 500 copies.

Danny Brown has released new single ‘Jenn’s Terrific Vacation’. His new album ‘Quaranta’ is out this Friday and he will play Village Underground in London on 4 Dec.

Coco have released new single ‘Do This Right’. Their new album ‘2’ is out on 1 Mar.

Chastity Belt have announced that they will release new album ‘Live Laugh Love’ on 29 Mar. Out now is its first single ‘Hollow’. It’s “a classic Chazzy-style tune about feeling lost and stuck, waiting for something to change without necessarily taking action”, says the band’s Julia Shapiro.

GIGS & FESTIVALS

Lil Uzi Vert has been announced as the headliner for next year's Rolling Loud festival in California. Although it’s apparently news to him. “I never said I was doing Rolling Loud, don’t understand why my name is on here”, he wrote in an Instagram story. The festival has not yet commented.

DIGITAL

TikTok launches feature to save song straight to streaming apps

TikTok has launched a new feature called Add To Music App. Its purpose - as you might guess from its matter of fact name - is to allow users to save music they hear on the video-sharing platform to their personal library on their streaming service of choice.

"TikTok is already the world's most powerful platform for music discovery and promotion, which helps artists connect with our global community to drive engagement with their music”, says TikTok’s Global Head Of Music, Ole Obermann.

“Add To Music App takes this process a step further, creating a direct link between discovery on TikTok and consumption on a music streaming service”, he goes on, “making it easier than ever for music fans to enjoy the full-length song on the music streaming service of their choice, thereby generating even greater value for artists and rightsholders".

Initially available in the US and UK, the new tool works with Spotify and Amazon Music - the latter for users signed up via Amazon Prime or on Amazon Music Unlimited.

ARTIST NEWS

Edith Piaf to narrate her own life story through AI

Warner Music has partnered with the Edith Piaf estate on a new project to use AI technology to recreate the late singer's voice and image for a new animated biopic. The film itself is to be a co-production between Warner Music and production company Seriously Happy.

The 90 minute movie will be narrated by the AI version of Piaf. Set in Paris and New York between the 1920s and 1960, it will also draw on TV performances, personal footage and interviews. The soundtrack will be made up of songs recorded by Piaf during her lifetime.

“It has been the greatest privilege to work alongside Edith’s estate to help bring her story into the 21st century”, says filmmaker Julie Veille. “When creating the film, we kept asking ourselves, ‘if Edith were still with us, what messages would she want to convey to the younger generations?’”

“Her story is one of incredible resilience”, she goes on, “of overcoming struggles and defying social norms to achieve greatness - and one that is as relevant now as it was then. Our goal is to utilise the latest advancements in animation and technology to bring the timeless story to audiences of all ages”.

Alain Veille, CEO of Warner Music France, adds: “Edith is one of France’s greatest ever artists and she is still a source of so much pride to the French people”.

“It is such a delicate balancing act when combining new technology with heritage artists”, he admits, “and it was imperative to us that we worked closely with Edith’s estate and handled this project with the utmost respect. Her story is one that deserves to be told, and through this film we’ll be able to connect with a whole new audience and inspire a new generation of fans”.

Meanwhile, the executors of the Piaf estate, Catherine Glavas and Christie Laume comment: “It’s been a special and touching experience to be able to hear Edith’s voice once again - the technology has made it feel like we were back in the room with her. The animation is beautiful and through this film we’ll be able to show the real side of Edith - her joyful personality, her humour and her unwavering spirit”.

So far, a proof of concept short film has been created, with plans to put the full-length movie into production in the near future.

LIVE

LIVE launches manifesto ahead of Autumn Budget

As the UK government’s autumn budget statement approaches - it will be delivered in Parliament next week - British live music trade body LIVE has published a manifesto calling once again for financial support for the sector, as well as making some other demands of government and the country’s lawmakers.

Pulling together various pleas from the live music industry made in recent years, the manifesto has five key priorities aimed at safeguarding grassroots music venues and boosting the wider live economy.

1. Provide urgent financial support, including an extension to grassroots music venues business rates relief and wider hospitality and leisure relief.
2. Rethink the current bill on safety at venues, known as Martyn’s Law, to ensure any new measures are practical and protect lives.
3. Remove the barriers for UK artists to tour internationally, including by introducing a cultural visa waiver for creative workers touring in the EU.
4. Protect fans by bringing UK ticketing regulations into line with other progressive music markets.
5. Accelerate the sector’s transition to net zero through funding and information provision to fill any current shortfall.

“You cannot underestimate the importance and value of live music to the UK, both culturally and economically”, says new LIVE Chair Steve Lamacq. “It is part of the fabric of who we are, producing world-class artists and providing enjoyment for millions of people. But this is still a very challenging time for promoters, especially at the grassroots level where venues are increasingly struggling to cope with massive rises in running costs”.

“We need to act now and recognise just how important these venues are, not just as the breeding ground for the next generation of young musicians, but also as proud, creative hubs for the communities they serve across the country”, he goes on. “Without targeted financial support and understanding, we run the immediate risk of seeing hundreds of these venues shutting for good, which would be devastating for fans, artists and local economies”.

As well as lobbying government in the short term, the manifesto is also looking ahead to the looming UK general election, with LIVE CEO Jon Collins adding: “The LIVE Music Manifesto launched today presents a huge opportunity for our political leaders to supercharge a cultural and economic powerhouse”.

“It is estimated”, he continues, “that for every 10,000 people at a gig in the UK, there is an additional £1 million spent in other local businesses, including restaurants and bars, transport networks, shops and hotels. It’s crucial that the voice of the live music sector is heard at the next general election”.

You can view the full LIVE Music Manifesto here.

LEGAL

Guns N Roses sued by photographer over claims of copyright infringement and sexual harassment

A photographer has sued Guns N Roses and their management company Team Brazil in a dispute over the copyright in her images. She also accuses band manager Fernando Lebeis of sexual harassment.

Katarina Benzova says that she worked as a tour photographer for Guns N Roses on and off from 2010 to 2022. In more recent years, she alleges in a lawsuit filed with the courts in California, the band have been making use of her photos - including sharing them with media and promoters - without her permission and often without crediting her.

When she first began working for Guns N Roses, Benzova had a contract with the band. And under that contract, the lawsuit concedes, "Benzova need not authorise and approve of Team Brazil and Guns N Roses’ commercialisation of the Benzova photographs because her works were 'a work for hire' during the exclusive term of the contract".

That would basically make the band the owner of the copyright in the photographs. However, after 2016 there was no contract. Yet, "despite the absence of a written contract, Team Brazil and Guns N Roses commercialised at least 145 of the Benzova photographs without her authorisation, permission, and against her consent and objectively manifested intent".

She adds that the band's management team were aware that they did not have the rights in the photos she took after 2016, noting that at one point they offered her $8000 to assign them the rights in images from 2021 and 2022.

Benzova also lists various run-ins she had with Lebeis over the use of her photos, adding that on one occasion he admitted to "knowingly and intentionally infringing upon Ms Benzova’s copyrights, egregiously stating that he knew but was too lazy to give her credit".

In addition to the copyright claim, Benzova's lawsuit also states that "since 2016, after Benzova escaped numerous unwelcome sexual advances from Fernando Lebeis, she endured consistent pervasive sexual harassment by Lebeis - all within in a workplace environment that was completely devoid of any sexual harassment policy, sexual harassment handbook, sexual harassment training, and human resource department".

Neither the band nor Team Brazil have as yet responded to the lawsuit.

LIVE

Live Nation investor sues over allegations of anti-competitive conduct

Another Live Nation investor has launched legal proceedings in the US over allegations that senior executives and board members concealed the live giant's anti-competitive practices. And that those practices have led to a regulatory investigation and media coverage which have, at times, had a negative impact on the company's share price.

Defendants, the lawsuit filed by Mark Steven Zwick claims, “issued statements that were materially false and misleading" by failing to disclose that "Live Nation engaged in anti-competitive conduct including entering into extended restrictive contracts with artists and venues, charging high fees for its ticketing services, and retaliating against venues for working with alternative promoters or ticketing services".

They also failed to disclose that, as a result of this alleged conduct, "Live Nation was reasonably likely to face regulatory scrutiny, fines, penalties and reputational harm”.

There has been much debate over the years about the dominance of Live Nation in the US live entertainment market - as a major promoter and venue operator, as well as being the owner of Ticketmaster. The 2010 merger of Live Nation and Ticketmaster was controversial and only got regulatory approval from the US Department Of Justice because the combined company signed a ten year consent decree regulating how the different strands of the business would interact.

As that ten year consent decree reached its conclusion there were allegations that Live Nation had broken the rules it set out. Following a DoJ investigation, a new five year consent decree was agreed in 2019. Then, last year, it emerged that the DoJ was again investigating allegations of anti-competitive conduct by Live Nation. More recently it was reported that the focus of that investigation is Live Nation and Ticketmaster's contracts with venues and artists.

Zwick's lawsuit documents how media coverage of that new investigation has impacted Live Nation's share price. It also notes how there has been renewed interest in US political circles regarding both Live Nation's conduct and the DoJ investigation following all the issues that occurred last year when tickets went on sale via Ticketmaster for Taylor Swift's US tour.

Another investor similarly sued Live Nation back in August for allegedly failing to disclose anti-competitive conduct to its shareholders. Live Nation, of course, strongly denies that any of its deals and operations breach its DoJ consent decree or competition laws more generally.

AND FINALLY

Railway cat makes bid for Christmas number one

A cat who has become a local celebrity at Stevenage railway station is making a bid for wider fame with an attempt to reach Christmas number one with a single called ‘Meow’.

Nala The Station Cat has become a popular fixture at the train station, perching upon the ticket barriers and posing for photos with commuters. Her owner Natasha Ambler has now announced that the cat is putting out a charity single in aid to the RSPCA and Stevenage homelessness charity Feed Up Warm Up.

The song was premiered on Scott Mills’ BBC Radio 2 show earlier this week. "I'm slightly lost for words", said the presenter upon playing the song.

"So am I, to be fair”, agreed Ambler. Who had presumably heard it before. She then added that the aim of the song is to "spread the happiness that Stevenage has had, and she's had on socials, to the world".

"We'll start small and hopefully she gets in the charts, but number one would be fantastic", she went on.

The single is released today, which is probably a little early for a track that wants to be a festive chart-topper, but who knows? It’s probably about time Ladbaby gave up on their annual bid for that accolade.

A video for the track - filmed at Stevenage railway station - will be unveiled in the run up to Christmas.