Worldwide royalty collections for creators of music, audiovisual, visual arts, drama and literature reached a record €9.65 billion in 2018, according to the 2019 Global Collections Report published today by CISAC (International Confederation of Societies of Authors and Composers). Royalties from digital sources jumped 29% to €1.64 billion, thanks to rapid global expansion of music and subscription video on-demand (SVOD) services. In the last 5 years, creators’ digital income has nearly tripled, now accounting for 17% of collections compared to 7.5% in 2014.
The increase in major markets’ digital collections – notably the United States, France and Japan – are the biggest drivers of global growth. This growth is helped by new and extended licensing deals between societies and digital platforms, from dedicated content services like Spotify to social media platforms such as Facebook and video on demand platforms such as Netflix and Amazon.
Global collections for music repertoire, accounting for the majority of the total, rose 1.8% to €8.5 billion, driven by a 29.6% growth in digital income and the continuing surge in subscription streaming revenues.
Total collections up 1% in 2018
Total collections in 2018, for all repertoires, grew 0.9%, the fifth consecutive year of growth. Over the five years since 2014, global collections by CISAC societies are up 25.4%. Digital growth, combined with resilience in the two other major uses (TV/radio and live/background), are continuing to offset declining income from physical media.
TV and radio, the largest collections source, declined 2.4% in 2018, while live and background revenue grew 0.5%. Combined, these two sectors have substantially grown since 2014, adding €653 million in revenue.
CISAC Director General Gadi Oron said: “This Report provides many reasons for optimism about our sector. Digital revenues show an impressive increase, have nearly tripled in the last five years and have enormous potential for further growth. More markets are seeing digital income taking the top position of all revenue streams, which is an extremely positive sign. In a landscape of fragmenting income sources, the role of authors societies in generating monetary value for millions of creators has never been more vital.”
Digital shows its growth potential
The Report shows other key indicators of the shift to digital: Asia-Pacific is a digital leader, with an online share of 26.3%, twice that of Europe at 13.3%; and Australasia, Sweden, South Korea, Mexico and China are in a growing group of “digital champions” where online revenues are now the top collections source. However, the Report also highlights the need for legislative action to bring fair creators’ remuneration, calling on governments to follow the example of the landmark EU Copyright Directive, adopted in April 2019.
Jean-Michel Jarre, CISAC President, said: “Digital is our future and revenues to creators are rising fast, but there is a dark side to digital, and it is caused by a fundamental flaw in the legal environment that continues to devalue creators and their works. That is why the European Copyright Directive is so momentous for creators everywhere. The Directive has sent an amazing, positive signal around the world, building a fairer balance between creators and the tech platforms”.
Other key highlights of the 2019 Report include:
• Global collections broken down by repertoire, type of use and region.
• Ten individual market case studies (Canada, Chile, China, Denmark, India, Italy, Malawi, Mexico, Poland, Senegal).
• Analysis of key legislative developments affecting creators’ remuneration in music, audiovisual visual arts, drama and literature.
Singer-songwriter Ryan J was crowned the winner of the 9th annual IMRO Christie Hennessy Song Contest with his song ‘Timebomb’.
The live final took place on Saturday, 2nd November at The Ashe Hotel, Tralee, with a special guest performance from singer-songwriter Mundy. Ten finalists were selected from just under 300 entries from across Ireland and beyond to perform their original song in front of a live audience and panel of expert judges.
Speaking at the announcement of the winner Ryan said: “I can’t believe this happened, I’m over the moon! I had everything packed away so this was unexpected. Well done to everybody who came and performed, the talent was amazing. Thank you to IMRO and all involved.”
Ryan J was presented with a cheque for €1,000, courtesy of IMRO and CARA Credit Union. For the first time in the contest’s history, two finalists were named in second place, Nnic with ‘The Place’ and Ivan Nicolas with ‘Sicily’. Both received €300 as worthy runner-up prize.
The competition, which is a tribute to one of Tralee’s most famous sons, received almost 300 entries from across Ireland and beyond. Now in its ninth year, the competition has grown in stature over the years to become one of Ireland’s leading song competitions and continues to attract a high calibre of songwriters from Ireland and overseas, covering a broad range of musical genres. Previous winners have included Paul McDonnell, Dave Molloy, Alan Kavanagh, Enda Reilly/Christine Deady, Míde Houlihan & Katie O’Connor, Curtis Walsh and Gemma Bradley.
Photo: Joe Hanley
IFPI, the organisation that represents the recorded music industry worldwide, has released its Music Listening 2019 Report, which examines the ways in which music consumers aged 16 – 64 engage with recorded music across 21 countries.
• Music listening is up. Respondents typically spend 18 hours per week listening to music – up from 17.8 hours in 2018. This equates to about 2.6 hours – or the equivalent of listening to 52 three-minute songs – daily.
• Most people (54%) identify as ‘loving’ or being ‘fanatical’ about music. Among 16 – 24-year-olds, this rises to 63%.
• Older age groups increasingly embrace audio streaming services. Engagement with audio streaming globally is strong, with 64% of all respondents accessing a music streaming service in the past month – up by about 7% over 2018. The highest rate of growth for engagement is in the 35 – 64-year-old age group, with 54% of that group accessing a music streaming service in the past month (+8% on 2018).
• Copyright infringement remains a challenge for the music ecosystem. 27% of all those surveyed used unlicensed methods to listen to or obtain music in the past month, while 23% used illegal stream ripping services – the leading form of music piracy.
Frances Moore, Chief Executive of IFPI, said: “This year’s report tells an exciting story of how fans are increasingly engaging with music. At a time when multiple forms of media vie for fans’ attention, they are not only choosing to spend more of their time listening to – and engaging with – music but they are doing so in increasingly diverse ways. The enduring partnership between record companies and artists is the bedrock on which this growing, exciting global world of passionate music listeners is built. Record companies work with their artists to help connect them with fans around the world. The report also highlights that the availability of music through unlicensed methods, or copyright infringement, remains a real threat to the music ecosystem. Practices such as stream ripping are still prevalent and return nothing to those who create and invest in music. We continue to coordinate world-wide action to address this.”
The full report is available here.
Keychange launches open call to find 74 innovative women & gender minority artists & innovators to take part in year-long programme
Applications are open to artists (writing & performing their own music) and industry professionals (working in music) in Ireland, Canada, Estonia, France, Germany, Iceland, Italy, Norway, Poland, Spain, Sweden, and the UK.
The IMRO sponsored, pioneering international initiative Keychange, has today launched an open call to find the next cohort of participants who will take part in an impactful capacity building and talent development programme throughout 2020.
Led by Reeperbahn Festival (Germany), PRS Foundation (UK) and Musikcentrum Öst (Sweden), Keychange is looking for 37 innovative, emerging artists, with a distinctive and original talent who write/perform their own music and are ready to export to new international territories. As well as the comprehensive training programme, artists will get the opportunity to showcase at one of the 13 festival partners. Ireland Music Week is the partner festival in Ireland for the initiative. Mixed gender groups are welcome to apply for showcasing, with the woman or gender minority member taking part as a Keychange participant. 37 industry professionals will also be recruited, who must be pushing the boundaries of music industry practice, demonstrating an interest in new business models and innovative ways of working with growing professional track record.
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. Our hope is that this will be the start of a more balanced industry which will result in benefits for everyone.”
Angela Dorgan, Director of Ireland Music Week added “As one of the first festivals to sign up to Keychange 3 years ago, we can already see the role events like ours have in proving that female and gender minority artists benefit from visibility. Bookers’ can’t ignore talent when it’s put in front of them, our job is to make sure the picture they get of the talent landscape is an equal one. “
Each successful applicant will get a bursary and a programme of stimulating activity facilitated and overseen by the new project management team. Partners in all 12 countries will select the 74 participants at a selection panel taking place in London in December.
The participants will get:
– Participation in full network meet-up in Stockholm in February 2020.
– Showcasing or participation at one of our 13 festival partners.
– Participation in full network meet-up at Reeperbahn Festival in September.
– Mentoring via SheSaidSo.
– For artist applicants: performance at one of our 13 festival partners.
– Promotion via the Keychange database.
– Capacity building with a bespoke training programme.
The deadline is 6pm GMT on Wednesday 30th October.
Each country has local partners and slightly different criteria, before you apply you must read the full criteria / guidance here: https://keychange.eu/apply/
Keychange is a pioneering international initiative which transforms the future of music whilst encouraging festivals and music organisations to achieve a 50:50 gender balance by 2022. 74 emerging artists and innovators each year from across Europe and Canada will take part in international festivals, showcase events, collaborations and a programme of creative labs. Keychange aims to accelerate change and create a better more inclusive music industry for present and future generations.
Keychange is led by Reeperbahn Festival, PRS Foundation and Musikcentrum Öst, supported by the Creative Europe programme of the European Union, in partnership with Tallinn Music Week, Iceland Airwaves, BIME, Oslo World, Linecheck/Music Innovation Hub, Ireland Music Week, SACEM, Liverpool Sound City, Way Out West, Spring Break, MAMA, Mutek and Breakout West.
Keychange is sponsored by FACTOR, Fundación SGAE, GEMA, Gorwelion Horizons, IMRO, Roskilde Festival, Smirnoff Equalising Music, SOCAN Foundation, Songtrust, SoundCloud, STEF and STIM.
Rounding off another year of adventures in Belfast, Berlin and Cardigan, Other Voices returns to its roots in Dingle, Co. Kerry on November 29th, 2019 for the annual weekend in the heart of winter, often referred to as a musical pilgrimage.
Venues, pubs, cafes and shops around the town will open their doors and welcome attendees to the Dingle Gin Music Trail showcasing over 70 artists across three days. Late-night favourite After Dark (a co-production with the Hen’s Teeth) will return to The Hillgrove with very special guests to be announced. The Music Trail West will take festival goers beyond the streets of Dingle to enjoy off the beaten track performances around various locations around the Dingle Peninsula on the Wild Atlantic Way. A longstanding OV favourite, Jim Carroll’s Banter will return to Foxy John’s for two days of thought-provoking discussions and a series of intimate performances.
From Friday 29th of November, Other Voices will welcome Irish and international artists to perform in St. James’ Church and the IMRO Other Room, where they will be filmed for inclusion in the 18th series of the television show, due to air on RTÉ 2 in 2020.
Ireland’s Edge returns with the theme ‘Endings + Edges, Bonds + Borderlands’. The focus will be on Brexit, Ireland’s place in Europe, the climate emergency, mass migration, immigration, and the role and impact of the digital revolution. As ever, the Ireland’s Edge talks and performances will happen in the company of a curious attendance of thinkers, policy makers, innovators, commentators and artists. Join us at the Edge to connect, disrupt and play. Tickets for Ireland’s Edge are priced €35 for two days and €20 for one day and available now from https://www.eventbrite.ie/e/irelands-edge-endings-edges-bonds-borderlands-tickets-73411946107. Ireland’s Edge – Endings + Edges, Bonds + Borderlands is presented in partnership with Intel Ireland.
Hiring an orchestra, studio, engineers and conductor for recording can be an expensive endeavour. The RTÉ Concert Orchestra is now offering flexibility in dividing recording sessions to facilitate many projects. Whether composing for a short film, requiring something greater for a main title, recording new songs, revisiting old songs that might require an orchestra or simply expanding your portfolio. They will provide the renowned Studio 1, control room facilities, qualified engineers, a conductor and the RTÉ Concert Orchestra to bring your orchestral creation to life.
For further information please contact firstname.lastname@example.orgM
In association with IMRO – RTÉ Scoring for Film Programme
ICE, the world’s first integrated copyright hub, today announced it has passed the €1bn mark for digital royalties distributed to its society and publisher customers on behalf of creators. In June 2019 IMRO announced that it had become a direct customer of ICE’s Core Licence. Under the terms of this agreement, ICE provides IMRO with a full suite of licensing and administration services for online usage of its members repertoire.
ICE continues to lead the way in licensing the wide range of digital platforms benefiting from the use of music and ensuring royalties are flowed back to creators accurately and efficiently.
ICE’s first distribution was in March 2016 and the €1bn mark was reached in just 3½ years, driven by its own Core licence expansion and the processing services it provides to Sony/ATV, BMG and Warner Chappell Music.
Simultaneously, ICE continues to improve its service through ongoing process development and investment in technology. It actively promotes industry best practices on topics such as clean claiming through its participation in industry fora; and tackles problem areas such as residuals and fake streaming.
“Whilst this milestone represents a landmark for the industry in this digital era, we’re focused on continually improving the services we offer,” said Thorsten Sauer, CEO at ICE. “We are working to increase transparency and achieve even greater efficiency in getting money paid quickly and accurately to rightsholders.”
“The ICE hub provides our members with the best return for the use of their work internationally,” said Karsten Dyhrberg Nielsen, CEO at STIM. “The revenue from licences negotiated by ICE continues to grow and their scale and expertise means royalties are efficiently processed despite ever increasing data volumes.”
Kaspar Kunisch, MD at ARESA also commented “The effectiveness and efficiency achieved by ICE in this day & age is great news for rightsholders, and to reach such a milestone in such a short time is an endorsement of their collaborative approach. Combined with the upcoming initiatives we’re excited by the future.”
ICE offers a flexible suite of services for Publishers, Collective Management Organisations (CMOs) and Rightsholders. Services include; copyright administration, multi-territorial online licensing processing and Digital Service Provider (DSP) licensing solutions. ICE was created by PRS, STIM and GEMA and represents over 290,000 rightsholders alone through this partnership. ICE has processed trillions of online music uses from music streaming services and paid over €1 billion back to rightsholders since March 2016. The ICE copyright database holds over 36 million musical works. ICE is based in the UK, Germany and Sweden.
Job Title: Distribution Assistant
Salary: On Request
Terms: 1 Year Fixed Term Contract
Please send a CV and covering letter outlining how you meet the criteria for the role to ei.ormi@snoissimbus
Deadline for applications is 5.00pm on Wednesday 4th September.
IMRO is a national organisation that administers the performing right in copyright music in Ireland on behalf of its members (songwriters, composers and music publishers) and on behalf of members of the international overseas societies that are affiliated to it.
IMRO’s Distribution Team is responsible for the efficient distribution of royalties, overseeing repertoire and providing excellent member services including the resolution of any member queries which may arise.
We are currently recruiting for a full time Distribution Assistant to join our Distribution Team. The successful candidate will contribute to the provision of an efficient distribution and membership service by carrying out a variety of clerical/administrative duties with a strong emphasis on data entry, data manipulation and data processing.
This is an entry level role and ideal for someone looking to develop a career in the business aspects of the music industry.
The candidate will be required to have strong communication skills, be results driven and able to work as part of a team, in a fast-paced environment.
- Work as part of a team of 5 Distribution Assistants, with support from Distribution Officers & Distribution Manager.
- Entering data into electronic form (e.g. work registrations, gig lists, set lists etc.).
- Matching music titles against repertoire databases.
- Matching data from live music performances to repertoire.
- Investigating member queries.
- Must have previous experience in an administration or similar role.
- Must have good keyboard skills, strong organisational skills and possess keen attention to detail.
- Must have good knowledge of Microsoft Word and Excel.
- A good general knowledge of music would be desirable.
Entries are now open for the IMRO Christie Hennessy Song Competition 2019 which takes place in memory of one of Tralee’s most famous sons. Songwriters are invited to submit an audio link for their entry by email to ei.ormi@pihsrebmem before the deadline of Friday 20th September 2019 (NOTE: PLEASE DO NOT EMAIL AUDIO FILE ATTACHMENTS).
Ten finalists will be selected to perform their song at the live final of the contest on Saturday 2nd November in The Ashe Hotel, Tralee, Co. Kerry, with the winning songwriter being presented with a cheque for €1,000 courtesy of IMRO and Cara Credit Union. A runner up prize of €300 will also be presented on the night.
A Tralee native, Christie Hennessy began his music career at a young age when he moved to London, playing in clubs by night and working on building sites during the day. He started writing songs at the age of 23 and went on to release numerous platinum selling albums.
Christie’s songs were later recorded by artists such as Christy Moore (“Don’t Forget Your Shovel”), Frances Black (“All The Lies That You Told Me”), Moya Brennan (“Oh Jealous Heart”) and Nizlopi, who reached Christmas Number 1 in UK and Ireland in 2005 with their hit “JCB Song”, sampling Christie’s lyrics from “Don’t Forget Your Shovel”.
The deadline for entries is Friday 20th September 2019
IMRO CHRISTIE HENNESSY SONG COMPETITION 2019
RULES OF ENTRY
1. The lyrics and music must be the original work
of the songwriter(s).
2. The competition is open to all types of song, in any style – ballad, country, pop, rock etc.
3. Songs may be entered in either the English or Irish language.
4. The competition is open to national and international songwriters.
5. Songwriters may only enter one song for consideration.
6. Entries will not be returned – all songwriters should retain a copy of their song submission.
7. Entries can be submitted via an online link to your song to ei.ormi@pihsrebmem (NOTE: Please do not email audio file attachments) or on a CD by post to the address below. All entries must be accompanied by a copy of the lyrics; typed or clearly written.
8. Finalists will be notified by Friday 11th October 2019.
9. The provisional adjudication will be on the basis of the tracks submitted, from which 10 finalists will be chosen.
10. Each of the 10 finalists will be invited to take part in a live concert in Tralee on Saturday 2nd November 2019. Backing tracks are not permitted for this performance.
11. Each songwriter will be responsible for providing the singer and/or group for his/her entry in the final at his/her own expense.
12. A first prize of €1,000 will be presented to the winning songwriter on the night of the final. A runner-up prize of €300 will be presented to the second placed finalist.
13. Final adjudication will be on the night of the final. Decisions of the adjudication panel will be final.
14. Entry for the contest implies acceptance of all the rules.
15. Postal entries should be sent to:
IMRO Christie Hennessy Song Contest 2019
C/o Irish Music Rights Organisation (IMRO)
Lower Baggot Street
‘Mechanics of Music Management’ seminar series in association with the Music Managers Forum (MMF) and delivered by Chris Cooke from CMU Insights will explore best practice and current trends in artist management.
Together these sessions will provide a comprehensive guide to artist revenue streams and business models, record deals, fanbase building and direct-to-fan relationships, and explain where the manager fits in with each of these strands of the business.
These seminars will be of interest to those starting out in artist management, artists who self-manage their careers and also for more experienced managers looking to gain a fresh insight into new trends and management strategies.
THE MECHANICS OF MUSIC MANAGEMENT | PART ONE
Date: Wednesday 25th September 2019
Time: 11am – 5.30pm
Location: IMRO, Copyright House, Pembroke Row, Dublin 2
Bookings: FREE Event | Booking Essential | Email: ei.ormi@stneve
DEALS, DATA AND THE ARTIST/MANAGER RELATIONSHIP
This full day course looks at how artists build a business around their music, and the manager’s role in making that happen. Along the way it covers music revenues, artist companies, business partners, management deals and fan data. Chris Cooke from CMU Insights leads the proceedings with a series of presentations – including insights from the MMF’s ground-breaking ‘Digital Dollar’ work. Plus hear from guests working in management, marketing and deal-making.
How do artists make money out of their music and what business partners do they work with to unlock each revenue stream? We put the spotlight on the intellectual property, live performance and fan relationship strands of the music business.
The Artist/Manager Relationship
What role does the manager play in each artist business and how does this impact on the artist/manager deal? We look at how the artist/manager relationship can vary, over time, and depending on who the artist is and the kind of business they are evolving.
Companies & Money
How does an artist go about structuring their business and managing their money? What questions need to be answered and what formalities need to be completed to ensure everything is agreed, legal and secure? Plus how does the manager facilitate this process?
Building A Fanbase
At the heart of every artist’s business is their fanbase. How can artists formally connect with and start to understand the core fanbase, and how does that process drive the business?
As the artist’s business grows, they will start to gather valuable data about their fanbase. Or at least, the platforms and partners they work with will! How can artists ensure that they have access to that data – and how can they legally utilise it to grow their business.
THE MECHANICS OF MUSIC MANAGEMENT | PART TWO
Date: Friday 25th October 2019
Time: 11am – 5.30pm
Location: IMRO, Copyright House, Pembroke Row, Dublin 2.
Bookings: FREE Event | Booking Essential | Email: ei.ormi@stneve
STREAMING, LABELS & THE DIRECT-TO-FAN RELATIONSHIP
This full day course looks at how artists make money out of their songwriting and recordings, and puts the spotlight on the streaming revolution. It also looks at how digital channels provide other opportunities for artists beyond the streams. Chris Cooke from CMU Insights leads the proceedings with a series of presentations – including insights from the MMF’s ground-breaking ‘Digital Dollar’ work. Plus hear from guests working in management, music rights and streaming.
How Music Rights Make Money
How can artists generate income through their songwriting and recordings? We provide a speedy guide to music rights, and explain what artists need to do to ensure they get paid whenever their music is copied, streamed, performed and played. Plus what should managers be doing to ensure their clients’ rights are properly logged and monetised?
The Digital Music Market
Streaming now accounts for nearly half of all recorded music revenues worldwide. We provide an overview of the digital music market today, and explain how artists and songwriters get paid when their music is streamed. Plus what are the key issues with the current streaming business model, and how can artists and managers get things changed?
The Role of The Label
Artists still need specialist business partners to help them get their music streaming. Labels do that of course. But so do distributors and label services companies. We look at the role labels play in building an artist’s business today, and at the different label and distribution deals that artists and their managers can now choose from.
Building A Direct-To-Fan Business
Beyond the streams, the biggest revolution in music caused by the rise of digital is the online direct-to-fan relationship. How can artists and their managers utilise all the fan data and D2F channels to truly capitalise on that fan connection?
About Chris Cooke
Chris Cooke is co-Founder and MD of CMU, a company that helps people navigate and understand the music business. It does this through media like the CMU Daily bulletin, Setlist podcast and CMU Trends library; consultancy units CMU Insights and CMU Pathways; and future talent programme CMU:DIY. He also programmes core conference strands at The Great Escape showcase festival and wrote the book ‘Dissecting The Digital Dollar’. CMU is part of Chris’s business 3CM UnLimited, through which he also publishes cultural media ThisWeek London and ThreeWeeks at the Edinburgh Festival; and teaches for PR training charity the Taylor Bennett Foundation.
About the Music Managers Forum (MMF)
The MMF is the world’s largest professional community of music managers. Since its inception in 1992, the MMF has worked hard to educate, inform and represent its members as well as offering a network through which managers can share experiences, opportunities and information.
Its core purpose is to:
- Educate: To support managers’ continuous professional development within an evolving music industry.
- Innovate: To create and highlight opportunities to develop and grow artist businesses.
- Advocate: To provide a collective voice and leadership to affect change for a transparent and fairer music industry for artists and their fans.