A changing digital era: Law Society and IMRO highlight significance of EU Copyright Directive ahead of World Intellectual Property Day
Article 17 addresses the ‘value gap’: the funnelling away of value from creators to online platforms
Ahead of World Intellectual Property Day 2021 (Monday 26 April) IMRO Adjunct Professor of Intellectual Property Law at the Law Society of Ireland, Dr Mark Hyland, highlights the significance of ‘Directive (EU) 2019/790 on Copyright in the Digital Single Market’, and in particular, what Article 17 will mean for Ireland’s creative industries.
Dr Hyland explains, “The backdrop to this year’s World Intellectual Property Day is the EU Directive on Copyright in the Digital Single Market. A key provision in this Directive is Article 17 which will have great benefits for Ireland’s creators by addressing the so-called ‘value gap’.
“The value gap refers to the funnelling away of value from creators and into the hands of a number of online content-sharing service providers. Essentially, Article 17 requires online platforms such as YouTube, to obtain an authorisation from the relevant rightholder before copyrighted content, such as music or movies, is made available to the public,” he explained.
“While Article 17 has been much debated over the last few years, it helps to highlight the arguably unfair and unreasonable balance between the online platform and the underlying rightholder,” Dr Hyland said.
“By addressing the value gap, the Directive is ensuring that rightholders receive appropriate payment for the online use of their works. This will be significant for creators in Ireland’s music industry, particularly given the ongoing pandemic-related challenges facing this sector. ”
IP and the music industry
“It comes as no surprise that Ireland’s music creators saw a significant drop in public performance royalties last year. Fortunately, it was also a strong year for online music thanks to the rise of video on-demand services and live streamed events, which wasn’t prevalent pre-Covid.”
“The Directive will have huge benefits for creativity in our fast-evolving digital age,” said Dr Hyland. “It will help promote the creative and cultural industries, major drivers of Ireland and Europe’s economy, and promote creators’ rights throughout the EU.”
“IP-intensive industries contribute 65% to Ireland’s GDP, which is the largest proportion of any Member State . A strong and effective IP system helps countries to realise IP’s potential for economic development and social and cultural wellbeing. Such a system ensures economic rewards for creators and provides an environment in which creativity and innovation are encouraged,” Dr Hyland said.
Member States must implement the Copyright Directive into their national laws by 7 June 2021.
“The last important revamp of EU copyright laws occurred twenty years ago, with the adoption of the Information Society Directive in 2001 , so this is another significant step in the modernisation of the EU copyright regime,” concluded Dr Hyland.
IMRO Adjunct Professorship of Intellectual Property Law
Dr Mark Hyland is the inaugural adjunct Professor of Intellectual Property Law. IMRO and the Law Society of Ireland partnered to create the role in response to the fast-changing digital landscape and the inevitable on-going effects on copyright law and practice.
The professorship is a key resource to the Law Society in broadening the knowledge base of trainee and qualified solicitors in the expanding area of IP Law. The expectation is that a solid grounding in this field of law will entice a new generation of lawyers into the music and entertainment industries.
Dr Hyland is a lecturer in the College of Business at the Technological University Dublin. His current research focuses on two main themes: website-blocking injunctions in an IP context and, how geo-location/geo-blocking technologies can be used to facilitate the territorial licensing of digital copyright works. He is a qualified solicitor and regularly contributes articles on EU IP/IT law developments to the Law Society Gazette.
Denise Chaila has been announced as the winner of the RTÉ Choice Music Prize Irish Album of the Year 2020 for the album ‘Go Bravely’ (narolane). Adam Clayton made the announcement live after the judging panel, made up of Irish music media professionals and chaired by Jim Carroll, met up over Zoom to decide on the winning album.
Denise receives a cheque for €10,000, a prize which has been provided by the Irish Music Rights Organisation (IMRO) and the Irish Recorded Music Association (IRMA), as well as a specially- commissioned award.
The event, hosted by Tracy Clifford, took place live on RTÉ2FM and RTÉ Player with exclusive performances from the artists, most of which were recorded at Windmill Lane Recording Studios, Dublin by South Paw.
The winner of the RTÉ Choice Music Prize Irish Song of the Year was also announced by singer-songwriter Ruth Anne and won by Niall Horan for his song ‘No Judgement’. Decided by the public (Ireland only), via the RTÉ and Choice Music Prize websites, fans were given the chance to get behind their favourite song of 2020.
RTÉ2 will broadcast a one-hour TV programme of the RTÉ Choice Music Prize, featuring performances from all the acts and interviews by Bláthnaid Treacy, on Sunday March 14th at 11.15pm.
RAAP, the BAI and Minding Creative Minds are official project partners of the RTE Choice Music Prize as are Culture Ireland and First Music Contact (FMC).
Keychange along with partners Ireland Music Week and sponsors IMRO have announced an expansion of the Keychange movement in Ireland. James Foley, Lead, Editorial at Spotify UK and Ireland is also announced as a Keychange Ambassador.
7 Irish organisations in total have now signed the Keychange gender pledge; Choice Music Prize, Foggy Notions, The Folly @ Cullohill, Ireland Music Week, HearOne Music, Minding Creative Minds and Róisín Dubh. All organisations have signed the Keychange gender equality pledge towards achieving 50% representation of women and under-represented genders – find the full list of Irish signatories here.
Eleanor McEvoy, IMRO Chairperson said, “International collaboration is essential to the creative and business development of all talented artists and the music industry’s future success. Enabling more women access to international networks and new markets at critical stages in their career will help them realise their potential as future leaders of an industry that is ready for and will benefit from change. Right now we have an opportunity to respond and commit to tangible change within the music industry”.
New Keychange Ambassador and Lead, Editorial at Spotify UK, James Foley said, “Even though the statistics on gender equality in music continue to make for bleak reading, I am ever-hopeful for change when I see the impact Keychange is having and the potential we all have to do more. In my day to day role in the UK + Ireland music team at Spotify, I’m focused on how we can create a more equal platform, give under-represented voices a stage and open up our listener’s ears to different viewpoints. I’m also keenly aware that gender equality in music is intersectional and can positively address other systemic inequalities. I take seriously the commitment to affecting change and connecting people who can unlock the challenges we face in making the industry a more equal place to exist. I’m really looking forward to working with everyone involved in Keychange as an Irish ambassador and I am excited about what’s to come”.
Angela Dorgan, Director of Ireland Music Week, said “The motivation for Ireland Music Week becoming a supporter and subsequently a partner in Keychange was to change the narrative around the lack of gender balance in festival line ups, to challenge the idea that “the talent isn’t there”. IMW have now achieved close to or over a 50% gender representation in our line up as a feeder festival of new and emerging acts in the past five years. The result has been more and more women and underrepresented gender acts apply every year. The successes, visibility and audiences that those bands attract are speaking for themselves. Pledging to Keychange means we can all make a positive difference in our everyday corner of the music industry.”
On Thursday 25th February at 4pm GMT / 5pm CET, a panel titled ‘Community and Management’, focusing on the Benefits and importance of collaboration and creating your network, will be broadcast on the Keychange Facebook page here.
Panelists: Lia Liegho, artist manager and Keychange participant, artist manager Ceri Dixon, Shauna Watson, We’ve Only Just Begun and Keychange participant and music PR Ismay Bourke.
Moderator: Maxie Gedge, UK Project Manager Keychange
Tune in via the Keychange Facebook page here.
Keychange in 2021
As campaigners for gender equality in music, Keychange invests in emerging talent with a yearly participation programme, whilst continuing to encourage festivals, conferences and a growing range of music organisations and institutions to sign a pledge to include at least 50% women and under-represented genders in their programming, staffing and beyond. The current list spans 40 countries and over 400 organisations. See the full list here. Icelandic partners Iceland Airwaves have achieved 50% representation of women and gender minorities on their line-ups for many years.
In addition to the ongoing Keychange Pledge, 74 participants – a roster made up of emerging artists and innovators within the music industry – are selected each year from across Europe and Canada to take part in international festivals, showcase events, collaborations and a programme of creative labs. Exceptionally, due to the COVID-19 pandemic, Keychange 2020 participants will see their involvement extended until December 2021, in order to allow for travel and development to take place in 2021 with online mentoring, panels, and workshops run by Capacity Building Lead, Chimes in 2020. Partners across Europe and Canada have hosted discussions around the national gender equality climate during 2020 and 2021.
Ireland’s Keychange participants for 2020/21 are:
Pillow Queens emerged onto Dublin’s flourishing underground scene in early 2017, selling out their first ever show. They haven’t looked back since. The band has shared stages with Pussy Riot, Idles and American Football. Through heavy touring and a handful of independent releases, they have grown a loyal fanbase and support at stations like BBC 6music, Radio X and KEXP. In 2020/21 they were nominated for the Choice Music Prize and performed on The Late Show with James Corden.
Shauna Watson currently works at Irish indie label Rubyworks. She has worked as a Production Manager for Dublin music venue Whelan’s, Irish promoter MCD as well as a Festival Assistant at Park Life, Leeds and Latitude Festivals in the UK. She’s currently the director of the Dublin chapter of shesaid.so and is founder/director of the annual festival ‘We’ve Only Just Begun’ with all female/non-binary fronted bands on the bill.
Her last EP, The Colour Of The Night, released in 2017, marked a turning point for Elaine Mai, both personally and professionally. Her live show, which had been developing and evolving constantly since her first performances, transitioned into a focused, perfectly honed and cohesive production.
Mona-Lisa Das is a DJ, creative and one of Ireland’s community leaders, having established Gxrl Code in May 2018, a worldwide creative collective that supports and empowers young female creatives. Mona-Lxsa was recently featured on British Vogue and recently received recognition from RTE News, Daily Edge newspaper and the Minister of Culture for the outstanding work empowering and supporting women worldwide.
Based in Dublin, Ireland, Lia Liegho is an artist manager and video producer working with one of Ireland’s leading video agencies, One Productions. As well as that, she leads and actively hosts a music platform: HearOne.
SYLK are an Irish female dark electro-pop duo consisting of taylor (vocals) and bebhinn (producer/instrumentalist). SYLK are noted for their visually energetic live shows and an underground visual identity with Hot Press Magazine classing them as ‘one of Ireland’s most exciting young acts of 2019’ and ‘having already established a reputation for themselves as being a darkly mysterious, neon-soaked duo.
Ireland Music Week are the Keychange partner coordinating and supporting activities in Ireland, alongside sponsors IMRO. Ireland Music Week is also the festival partner for Keychange in Ireland so will host 6 international Keychange participants, as well as the Irish participants in 2021.
Your Music Your Future partners with CISAC to educate creators globally on royalties and copyright buyouts
An education campaign created in the United States to inform creators on the growing practice of copyright buyouts is being extended globally with a new online resource, “Your Music Your Future International”.
Composers and songwriters for film, television and other audiovisual media have depended for more than a century on a ‘typical deal’ which allows them to collect royalty income in exchange for granting their copyrights to broadcasters, digital streaming services and other users of their works.
Today, across the globe, that 100-year precedent is increasingly being challenged by companies who insist that composers accept buyouts of their rights (including performing rights) as a condition of being employed or commissioned for a project. In this scenario, composers are expected to create music in exchange for a one-time fee instead of receiving continuing income for their work.
The works of songwriters and composers (just as of screenwriters and directors) are an invaluable and inextricable part of the storytelling in film, TV and all other audiovisual media. Traditionally, royalty income has been the only dependable source of earnings for these creators. The growing practice of buying out their rights (including performing rights) changes the remuneration equation with important implications for creators’ careers.
To raise awareness of this global issue for creators, a new international education resource is now being made available, bringing together the US music creators’ movement Your Music Your Future and CISAC, the global confederation of authors societies with 230 members in over 120 countries and territories.
Your Music Your Future was founded by composers, for composers in the US in 2019 and is dedicated to educating fellow creators about their options for compensation and the ramifications of their choices, including accepting total buyouts of their work. The campaign is strictly educational, taking no sides in the debate, and has built a community of more than 15,000 members.
With the help of CISAC, the campaign is now being extended to help educate composers and songwriters across the world. A new website, Your Music Your Future International, covers topics including the options of royalties vs buyouts, the typical use of buyout clauses in contracts and the different laws governing buyouts internationally. The initiative is also supported by CIAM, the International Council of Music Creators.
CISAC President, Abba co-founder, Björn Ulvaeus says: “In the post-COVID world, the issue of copyright buyouts matters more to creators than ever before. Artists, composers and authors have to be aware of their rights, understand their options and make informed choices on the way they are paid. Their future livelihoods depend on it”.
Your Music Your Future founder, composer Joel Beckerman said: “This is a movement, for composers by composers, to educate our community on the choices with respect to performing royalties. The aim is to bring this vital educational message to all music creators everywhere. As music creators we are all in this together, and education is the key to ensuring their ability to support their families and put food on the table”.
CISAC Director-General Gadi Oron said: “Copyright buyouts are a growing concern for creators and for CISAC societies which represent them and protect their interests. By partnering with Your Music Your Future, CISAC helps fill the information gap and provide a practical and useful educational resource about buy-out contracts and creators remuneration. This should assist creators in making an informed decision about contracts they’re offered and their options”.
Key topics on the website include:
- what are total buyouts?
- why buyouts are becoming more prevalent
- how “buyout clauses” work in contracts
- royalties vs lump sum: weighing up the options
- varying laws surrounding total buyouts in different regions and territories
- how creators can raise awareness for greater legal protection of their works
Recognised as a pinnacle of achievement since they were first presented in 1956, The Ivors Academy presents Ivor Novello Awards for exceptional songwriting and composing. The awards are particularly important to the music industry as they represent peer recognition.
2020 winners included Dave, Little Simz, Inflo, Jamie Cullum, Mysie, Labrinth and Rag ‘n’ Bone Man. Joan Armatrading CBE was recognised for her outstanding achievements with Fellowship of The Ivors Academy and Steve Mac picked up an Ivor Novello Award for Songwriter of the Year.
Graham Davies, CEO of The Ivors Academy said, “Hold the date for The Ivors with Apple Music 2021. I can’t wait to see the talent and artistry we will recognise from the past year – something that’s more important than ever. While we are in uncertain times, we remain optimistic about being able to celebrate in person.”
The Rising Star Award with Apple Music will return for the second year. Created to honour young talent who demonstrate exceptional potential, the award includes a mentoring scheme from Apple Music where all nominees receive a year-long mentorship from a well-established Academy member. Last year’s winner, Mysie was mentored by songwriter and producer Fraser T Smith. Entries will open on Monday 15th February and close on Friday 26th March.
Anyone can submit eligible works for The Ivors, including songwriters and composers. Music released in the UK between 1st January 2020 and 31st March 2021 will be eligible for this year’s awards. Entries for Best Album, Best Contemporary Song, Best Original Film Score, Best Original Video Game Score, Best Song Musically and Lyrically, and Best Television Soundtrack will open on Monday 22nd March and close on Friday 30th April.
Find out more about The Ivors.
Minister Catherine Martin has welcomed the BAI announcement of an open Sound and Vision funding round of €6.9m to support the production of content in the broadcasting, audio and audiovisual sector. This will incorporate ring-fenced funding that supports the live music sector.
Minister Martin, recognising the severe challenges faced by Irish musicians and the live music sector as a result of COVID-19, had asked the BAI to include a call for specific projects to support this sector in an open round of the Sound and Vision Scheme and provided €1.4m for this purpose.
Speaking today the Minister said: “I am delighted that the BAI is putting this round in place which will complement the other initiatives my department has already put in place to support the live music sector. Musicians, in a sector severely damaged by the pandemic, need opportunities to perform. These new broadcasting grants will give their music a platform, especially at a time when the public really miss going to concerts. I look forward to enjoying the projects that will be made possible through the additional funding and am delighted that the open round will significantly benefit independent producers and broadcasters at this difficult time.”
Details of the round are available at BAI.ie.
The shortlist for this year’s RTÉ Choice Music Prize Irish Song of the Year 2020, in association with IMRO & IRMA, was announced today on RTÉ 2FM’s Tracy Clifford Show.
The shortlist is as follows:
Denise Chaila – Chaila (Narolane)
Gemma Dunleavy – Up De Flats (Up De Flats)
Fontaines D.C. – Televised Mind (Rough Trade)
Niall Horan – No Judgement (Capitol Records)
Jafaris – Haunted (Jafaris)
Gavin James – Boxes (GS Believe)
Dermot Kennedy – Giants (Island Records)
Picture This – Winona Ryder (Universal Music)
Pillow Queens – Holy Show (Pillow Queens Records)
True Tides – Survive (Temple Records)
To vote for the RTÉ Choice Music Prize, Irish Song of the Year 2020, visit https://2fm.rte.ie/rte-choice-music/. Votes are limited to one per person per day. Only votes cast in the Republic of Ireland will be counted. Voting closes at midnight on Sunday 28th February.
The Irish Album and Song of the Year 2020 will be announced live on RTÉ 2FM in a special Tracy Clifford Show from 12-3pm on Thursday 4th March and broadcast live on RTÉ Player. The show will feature live performances from some of the shortlisted album acts and further details on the line-up will be announced soon.
A special RTÉ Choice Music Prize highlights programme will be broadcast on RTÉ2 television the following week.
The 16th annual RTÉ Choice Music Prize will once again celebrate the best in Irish recorded music. The Prize has become one of the music-industry highlights of the year since its inception in 2005. The Irish Album of the Year award is chosen from a shortlist of ten albums by a panel of eleven Irish music media professionals and industry experts. The full shortlist, as well as the list of judges, are available on http://www.choicemusicprize.ie
The winning act of the album of the year will receive €10,000, a prize fund which has been provided by The Irish Music Rights Organisation (IMRO) and The Irish Recorded Music Association (IRMA). All shortlisted acts will receive a specially commissioned award.
New study reveals that cultural and creative industries could hold the key to rebuilding Europe’s battered economy
IN A NUTSHELL
Cultural and creative industries (CCIs):
- employed more than twice as many people as telecommunications and automotive industries combined
- were growing faster than the EU average
- represented 4.4% of EU GDP in terms of turnover
- are some of the worst affected by the COVID pandemic (more than the tourism industry and almost on par with air transport)
- if properly empowered, could hold the key to rebuilding Europe’s economy
Cultural and creative industries (CCIs) are much more than just another sector to get out of the crisis, they are a significant part of Europe’ solution to the current situation and its economic and social consequences.
This new study from EY, called Rebuilding Europe: the cultural and creative economy before and after COVID-19, captures the figures behind Europe’s thriving cultural and creative economy before the pandemic, and the staggering effects of venue and shop closures and health measures. It also lays out a series of recommendations to empower CCIs, so they can be one of the drivers to help boost and revamp the EU economy.
A THRIVING ECONOMY
In 2019, the CCIs represented 4.4% of EU GDP in terms of turnover, with annual revenues of €643 billion and a total added value of €253 billion. CCIs were also one of Europe’s leading job providers, employing more than 7.6 million people, more than eight times the telecommunications industry.
CCIs were growing faster (+2.6% per year since 2013) than the EU average (+2%) and represented a trade surplus of €8.6 billion in 2017 (the latest figures available) – underlining the EU’s status as a cultural powerhouse in the world economy. The creative economy also came out favourably in terms of technological innovation, gender diversity and employment of young people.
When COVID-19 took hold, the study finds that CCIs were worse hit than the tourism industry and only marginally less than the air transport industry. CCIs as a whole experienced losses of over 30% of their turnover for 2020 – a cumulated loss of €199 billion – with music and performing art sectors experiencing 75% and 90 % losses respectively, €53 billion for visual arts, €26 billion for audiovisual, etc.
Considering CCIs’ key contribution to the overall economy, and its potential to lift the EU out of the crisis, the study concludes that the creative sector should be central to Europe’s recovery efforts and recommends a three-pronged approach: ‘finance, empower, leverage’. It recommends massive public financing and the promotion of private investment, a solid legal framework to create the conditions needed to revitalise the creative economy and safeguard its long-term growth, and leveraging the soft power of CCIs and individual creative talent to drive societal progress.
A UNIFIED SECTOR MEETS COMMISSIONERS
Unprecedented times called for unprecedented measures. Never before has Europe’s creative economy experienced such economic devastation, the effects of which will be felt for the next decade. While the report itself features editorial messages from President of the European Parliament David Sassoli and European Commissioner Mariya Gabriel, its release has inspired a unified delegation that, at the initiative of GESAC, will meet high-level decision-makers on the day of the launch, including European Commission Executive Vice-President Dombrovskis, Vice-Presidents Schinas and Šuica, and Commissioners Breton, Gabriel, Gentiloni and Schmit. The delegation includes representatives from across the CCIs, led by cultural ambassador Jean-Michel Jarre.
Jean-Michel Jarre, electronic music pioneer says :“Culture has become a scarce resource in today’s Europe, and we are all suffering because of it. At the same time, Europeans are experiencing the truly profound value of art and its ability to bring us together. This study reflects that reality, it puts numbers to the suffering and offers clear instructions as to the solution.”
Jean-Noël Tronc, President of GESAC and CEO of SACEM says: “The CCIs are as dynamic as they are vulnerable, as essential as they are diverse, and fortunately, it’s not too late to take action. In addition to massive funding, what’s needed is a solid legal framework that fosters investments and their recoupments while guaranteeing fair remuneration for creators and their business partners and, in this regard, the swift and effective implementation of the Copyright Directive is key. European leaders also need to prepare for the future, by using the CCIs – and the multiplied power of their millions of individual talents – as a major accelerator of social, societal and environmental progress in Europe.”
Marc Lhermitte, Partner at EY says: “This study provides the most up to date data on the massive economic impact of the COVID-19 crisis on cultural and creative industries in Europe. 2020 was a dramatic year for the cultural and creative industries (CCIs), both in Europe and around the world. Culture was the first to suspend most of its live and retail activity – and it will probably be the last to resume without constraint. But the study also asserts that this sector, an economic heavyweight, which is at the heart of Europe’s social fabric, could become the number one ally of an economic revival. It showcases the power of culture, its dynamism and its contribution to the EU’s global influence.”
MORE ON THE STUDY
The study was commissioned by GESAC (European Grouping of Societies of Authors and Composers) and brought together a broad array of partners; AEPO-ARTIS, EUROCINEMA, EUROCOPYA, EVA, FIAPF, IMPALA, IVF, SAA, SROC, and supportive organisations; AER, CEPIC, EACA, ECSA, EGDF, EPC, FEP, FERA, FSE, IFRRO, IMPF, highlighting the cross-sectoral support for its findings and recommendations.
RTÉ 2FM has revealed its exciting 2FM Rising list for 2021. This prestigious list, chosen by a panel of experts, consists of ten cutting edge music acts that will have listeners buzzing with their fresh new sound.
The ten artists are: For Those I love, Shiv, The Clockworks, Shane Codd, Lea Heart, Monjola, Robert Grace, Bobbi Arlo, Gemma Dunleavy and Plantain Papi.
In previous years, names on the Rising list have included: Fontaines D.C. Wyvern Lingo, Lyra, and Dermot Kennedy.
The announcement, which was made on The Tracy Clifford Show 2FM, will kick start with a ‘Rising Week’ from 18-24 January 2021. The ‘Rising Week’ will see the ten chosen acts, which 2FM will champion during the year, promoted extensively across the station. It will also broadcast exclusive new music and interviews with these exceptional artists.
Director of Music 2FM Adam Fogarty said: “Rising is a key initiative from 2FM and RTÉ as the support of Irish music and Irish artists is an important part of what we do and what we represent. We’re extremely excited about our 10 acts this year and we feel the list is a fantastic example of how strong and diverse Irish music is right now. In a time when musicians and artists need all the support they can get, we hope 2FM Rising can be a benefit to these artists on their respective journeys to bigger things.”
Each of this years ten acts will also receive a €1,000 bursary from IMRO.
IMRO Chief Executive Victor Finn said “IMRO is delighted to play its part in assisting some of our finest new musical talent realise their creative and career goals in the year ahead. It has been an incredibly challenging time for the music and wider artistic community and the 2FM Rising initiative will provide an invaluable promotional and support platform for all of the participating acts throughout 2021.”
2FM Rising is an artist development initiative providing airplay, promotional and content opportunities for its chosen participants.
YouTube offer a breadth of opportunities to customise videos, drive viewers to other videos on your channel, create playlists, and engage with your community. In this module we will explain the essentials of YouTube strategy and optimisation. Furthermore, with an estimated 70% of all watch time on YouTube being driven by recommendations from YouTube’s algorithm, this module, which is delivered by Music Ally, covers all bases for ensuring your YouTube videos and channels are as visible as possible.
Date: Tuesday 9th February
Time: 10am – 11.30am
Bookings: FREE Online Webinar | Booking Essential | Email: ei.ormi@stneve to reserve your place.
About Music Ally
Music Ally launched in 2002 with a mission to help the global music industry to thrive from digital disruption rather than fear it. Their original focus was on providing news and analysis of the way technology is impacting the industry and providing strategy and research to enable music companies to navigate the new landscape. Over time they have evolved, now providing more hands-on marketing services and training for music professionals around the world. Music Ally also plays a role connecting different communities by organising regular conferences, including NY:LON Connect and Sandbox Summit in London and New York, and social events with partners including Music Biz, by:Larm, AWAL, Midem and Circulart. They are currently exploring the evolution of the global music business, publishing regular profiles and analysis of expanding markets as well as launching an editorial service in Japan, opening an office in Medellín, Colombia with plans for Music Ally Africa and Music Ally China too. Their clients are across the music and technology sectors, and include all of the major labels, many independents, music publishers, management companies and music platforms like Spotify, Amazon, Facebook and Google.