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Today's music business news

TOP STORY

Sony Music digital chief asks Congress to close "legal loopholes" to ensure artists can stop authorised AI voice clones

Sony Music’s President of Global Digital Business, Dennis Kooker, has called for a US-wide publicity right via which artists can protect their voices and identity, so that they can stop the unauthorised cloning of their vocals by AI.

He revealed that the major has now issued nearly 10,000 takedown notices seeking the removal of unauthorised voice clones, adding that digital platforms are using legal loopholes to "drag their feet" when dealing with such notices.

He’s also made it clear in a statement to US senators that he does not regard AI training as ‘fair use’ under copyright law - despite what many AI companies argue - saying: "Congress should assure, and agencies should presume, that reproducing music to train AI models, in itself, is not a fair use".

Kooker was speaking at another session instigated by members of US Congress exploring the impact of AI on copyright. This session was part of Senate Majority Leader Chuck Schumer's AI Insight Forum.

The Sony exec stressed that the music industry sees many positives in the rapidly evolving world of generative AI, but added that there are challenges to be tackled too, including the increasing number of "deepfakes and unauthorised voice clones of existing artists" that are being generated and posted online.

"An artist literally makes their livelihood from their voice", he said in his statement to Schumer's forum. "Deepfakes intentionally exploit an artist’s talent and reputation to steal that income stream. Every stream of a deepfake takes streams and royalty payments away from the legitimate artist".

An AI model that imitates an artist's voice needs to be trained with that's artist's music. The music industry fairly unanimously argues that this exploits copyright and therefore permission from the copyright owner is required.

However, there has also been much discussion this year about other legal protections that artists can use to stop unauthorised use of their voices, in particular publicity or personality rights.

In the US publicity rights exist at a state level and it remains unclear exactly how they will work in the context of deepfakes and voice clones. "Platforms are quick to point to the loopholes in the law as an excuse to drag their feet or to not take the deepfakes down when requested", Kooker revealed.

"Existing state ‘right of publicity’ laws are inconsistent", he went on, "and many are not sufficient to protect Americans against AI clones. Creators and consumers need a clear unified right that sets a floor across all fifty states".

He then noted the NO FAKES Act proposals presented by four US senators last month, adding that those proposals are "an important first step".

ONE LINERS

One Liners: MGMT, Louis Culture, Unflirt, Silver Clef Awards + more

DEALS

Music AI company Boomy has announced a partnership with Warner Music's services division ADA. Under the alliance, select artists utilising the Boomy platform in their music-making will get distribution and marketing support from ADA.

APPOINTMENTS

Venue operator ASM Global has appointed Anna Sjölund to the newly created role of European Programming Director. She will be based in the firm's Stockholm office with a particular focus on programming at ASM's Nordic venues, but also offering support across the rest of Europe.

London’s Wembley Stadium has promoted its Head Of Event Operations Paul Smyth to the role of General Manager, responsible for overseeing events at the stadium as well as managing its day-to-day operations.

LABELS & PUBLISHERS

As COP28 - the latest edition of the United Nations' climate change conference - kicks off today, the three major record companies have announced the launch of a Music Industry Climate Collective, described as a "new music industry alliance to address the pressing challenges and profound changes in global climate". US indie label trade group A2IM will also be an adviser to the collective. In Europe, indie label trade group IMPALA has been doing lots of work in this space for some time and has posted an update on that work ahead of COP28.

RELEASES

MGMT have released new single ‘Bubblegum Dog’ from new album ‘Loos Of Life’, which is out on 23 Feb.

Eels have released Christmas single ‘Christmas, Why You Gotta Do Me Like This’. “I mean, seriously”, says frontman Mark Everett. “Haven’t I always been good to you, Christmas? Enough with the coal in my stocking. For fuck’s sake”.

The Jesus And Mary Chain have announced that they will release new album ‘Glasgow Eyes’ on 8 Mar. “Don’t expect ‘the Mary Chain goes jazz’”, says Jim Reid. “People should expect a Jesus And Mary Chain record, and that’s certainly what ‘Glasgow Eyes’ is. Our creative approach is remarkably the same as it was in 1984, just hit the studio and see what happens. We went in with a bunch of songs and let it take its course”. Out now is new single ‘Jamcod’. UK tour dates are also set for March.

Louis Culture has released new double A-side single ‘Grammar/No Love’. He will also be touring the UK in April, including a show at London’s Village Underground on 18 Apr.

Unflirt has released new EP ‘April’s Nectar’, which includes new single ‘White Noise’. She is set to play her debut headline show at Laylow in London on 6 Dec.

AWARDS

The Nordoff & Robbins Silver Clef Awards will return to Grosvenor House in London on 5 Jul 2024, it has been announced. Early bird and split payment offers are available upon tables booked before the end of January. More details here.

LABELS & PUBLISHING

Spinnin’ Records announces joint venture with DVBBS label Kanary Records

Warner Music-owned dance label Spinnin’ Records has formally announced a joint venture with Kanary Records, another dance music centric label that also has music publishing, multimedia and fashion divisions.

Kanary Records is headed up by Canadian production duo DVBBS - aka Alex and Christopher Van Den Hoef - who have worked with Spinnin' Records in the past. Under the new JV deal, the label’s artists, including Arkade, Bad Nonno and Dayfive, will get distribution and other support from the Warner imprint.

Say the Van Den Hoef brothers: “We couldn’t be happier to combine forces with the dream team over at Spinnin’ Records, and we’re excited to expand our partnership with Warner Music Group. To be able to continue our relationship for a decade plus is very rare in this industry and it’s starting to really feel like a real family".

Spinnin' Records Head Of A&R Jorn Heringa adds: "We are delighted to join forces with Alex and Christopher, reigniting our relationship from over a decade ago. Both brothers bring deep expertise and knowledge to the table and will work harder than anyone else to develop and drive Kanary to new heights with us. Welcome back to Spinnin’!”

APPROVED: AVICE CARO

Avice Caro has released her latest single, dreamlike folk song ‘At The End Of The Day (It’s The End Of The Day)’. The track is her first for Nice Swan Records, the indie label known for putting out early releases by the likes of English Teacher, Sports Team and Sprints.

“The song is about knowing what's best for you, but feeling compelled to make the choice that makes others more happy because it's easier than fighting for yourself”, she says. “Of course, every time you make a decision that changes the course of your life you can't go back”.

“As time goes by life has this cruel way of showing you glimpses of the beautiful life you could've had, had you followed your heart instead”, she goes on.

“Sometimes you hope and pray you could just go back, but you can't. It's loosely inspired by Jacques Demy's film ‘Les Parapluies De Cherbourg’, which explores this idea through a pair of star-crossed lovers”.

More new music and live dates are planned for 2024. For now, listen to ‘At The End Of The Day (It’s The End Of The Day)’ here.

LEGAL

Hall & Oates both make court filings as the legal dispute over their joint venture company continues

Both Daryl Hall and John Oates made filings with the courts in Nashville yesterday ahead of a hearing later today in relation to a dispute over the future of their joint venture business Whole Oats Enterprises.

It emerged last week that there was a legal dispute between the two members of Hall & Oates. Although court filings were initially sealed, it subsequently transpired that Hall had gone legal to try to stop Oates from selling his share in their joint venture to Primary Wave.

According to the Associated Press, in a declaration filed with the court yesterday Hall explains that that JV company controls the Hall & Oates trademarks, personal name and likeness rights, receives royalty income from their recordings, and manages the duo's website and social media.

“While falsely contending over the last several months that [he] wanted to maintain ownership in WOE, John Oates … engaged in the ultimate partnership betrayal", Hall's declaration continues. “[He] surreptitiously sought to sell half of the WOE assets without obtaining my written approval".

Oates has also made a filing with the court, in which he expresses disappointment about the “inflammatory, outlandish and inaccurate statements" made in Hall's filings. He then claims that his recent business decisions were merely a response to decisions previously made by his musical collaborator.

“Over the years, Daryl has consistently and publicly been adamant about being perceived as an individual rather than as part of a duo or group", he writes. "On this point I agree. I now must act with truthfulness and make decisions that are right for myself, my family and my artistic future".

The Nashville court previously issued an injunction temporarily stopping any sale of Oates' share in WOE to Primary Wave. Hall is now seeking to extent that order while his legal proceedings and out-of-court arbitration continues.

MEDIA

Three executive departures as Bauer rejigs the management team at its UK audio business

Bauer Media has announced a rejig of the management team at its UK radio and audio business which will see a number of executives departing the company. That includes COO Graham Bryce and Chief Strategic Partnerships & Events Officer Steve Parkinson, plus its MD for Northern Ireland David Tighe.

The rejig follows the departure earlier this year of Dee Ford, who previously led Bauer's UK audio business, and who was succeeded by Simon Myciunka.

There was also a change at the top of Bauer's audio business in Europe, with former President Richard Dawkins announcing in September that he was standing down because of "differing ideas around the next phase of transformation" between him and Bauer Media Group CEO Yvonne Bauer.

Confirming the latest changes in the UK business, Myciunka says: “Graham and Steve have both made significant contributions to Bauer Media Audio UK and I would like to thank them for their creativity, expertise and commitment in making the business what it is today and wish them the very best for the future".

There was similar thanks for Tighe, with Myciunka stating that the firm’s Northern Irish audio business “has been transformed during David’s tenure".

Looking forward, Myciunka concludes: “We have the creative ambition to push boundaries. We are going to continue to be market-beating in traditional radio whilst, at the same time, innovating and building our capabilities in digital. To do this, we need to transform our business to ensure we are set up for the future".

EDUCATION

BIMM University launches AI-centric course

BIMM University - which includes the BIMM music colleges as well as film, theatre and dance schools - has announced the launch of a new course focused on the impact of AI on the creative industries.

Under the banner AI_Labs, BIMM says that the new course will "cover areas including interplay between human creativity and AI, AI in music composition, AI in film and media, AI-driven artistic performances, plus so much more".

As part of the new course, BIMM has also announced Warren Barkley - Cloud AI Leader at Google - as a new Visiting Professor.

He says: “The synergy between AI and the creative industries is undeniable. From enhancing music composition to revolutionising visual arts, the application of machine learning to creative industries opens a new world for artists of all types".

"I am honoured", he goes on, "to be part of BIMM University’s visionary approach in preparing the next generation of creatives to harness the power of AI while preserving the authenticity of their art".

MEDIA

OfCom says the BBC should take more risks to better connect to working class audiences

The BBC should take more risks when producing new programmes in order to better connect with audiences from lower socio-economic groups, according to a new study published today by UK media regulator OfCom.

While "working class audiences" on average watch more TV and do still feel a connection to the BBC - especially for news and coverage of big events - OfCom says that participants in its research "felt there was little representation on the BBC of what they called 'normal, working-class lives'”.

“Even when they did see ‘people like them’ represented in BBC programmes”, it adds, “they felt the portrayal often reverted to stereotypes or ‘tokenist’ characterisations". As a result, many people are turning to online content “to find newer voices that relate, more authentically, to their real-life experiences".

Some of those surveyed also said that they felt the BBC didn't necessarily sign-post its newer content particularly well, contrasting the BBC's channels and platforms with streaming services and social media, which allow for more personalised navigation of what's on offer.

"Overwhelmingly", OfCom continues, "people in the study want to see the BBC taking greater risks in producing new content and making sure audiences know about the variety of programmes available".

The regulator notes that BBC bosses are already seeking to address the issues raised in its study when commissioning new content. However, "the BBC should carefully monitor whether this new content is cutting through and consider what further action may be needed".

You can read the full OfCom study here.

AND FINALLY

Spotify unwraps Wrapped - assigns everyone a Sound Town

Spotify unwrapped this year’s Wrapped yesterday, once again proving that the streaming firm commoditising fan data to drive free organic marketing for its product is something that people seemingly never get tired of.

This year sees Spotify assign users a ‘Sound Town’, as well as creating a wide range of frankly batshit genres, presumably designed to drive additional sharing on social media as people say “my top genre is Char Sui Judder” or “my daughter has apparently been listening to lots of Cow Poke Grindcore - should I be worried?” We made those genres up obviously. Or did we?

Alongside the huge free marketing boost that Spotify Wrapped brings the company via social media - with #SpotifyWrapped once again trending on key platforms - it also delivers lots of additional free promo from lazy journalists desperately scrabbling around for a story to fill the near-to-Christmas void.

As a journalist desperately scrabbling around to fill the near-to-Christmas void, I fully endorse Spotify’s generous gift to the world. Not least their generous geographical gift in the form of these ‘Sound Towns’.

A ‘Sound Town’ is a town or city selected based on what music a user has streamed - presumably the town where the average resident has similar listening habits. My assigned town is a mere 37 miles from where I grew up.

 That definitely says… something. I’m not entirely sure what, but I’m pretty sure it’s not good.

There’s lots of other Wrapped-related stuff on Spotify’s website, including the top five most streamed tracks in various countries around the world, accessible via an almost-interactive globe.

So if you want to waste some time today, why not use this website to pick a random country and then see what the most streamed tracks are in that place. Although, doing so mainly highlights how many countries are missing from Spotify’s stats map.

Anyway, given Spotify likes to add some new features to Wrapped each year, maybe in 2024 it could include a personalised list of your favourite emerging artists who have been demonetised by the platform. Who knows?