Tuesday 25 September 2018, 11:11 | By Chris Cooke

Ticketmaster chief responds to latest secondary ticketing hoo haa Stateside, while Viagogo sparring continues in the UK

Business News Live Business

The President of Live Nation’s Ticketmaster has spoken to Billboard about an exposé in the Canadian media last week about the firm’s secondary ticketing operations in the US. The report from the Toronto Star and CBC showed the ticketing giant courting touts at a trade fair in America, and being both very candid and very blasé about how those touts routinely break the rules on Ticketmaster’s primary site in order to access tickets to resell.

Amid the debate around secondary ticketing on both sides of the Atlantic, allegations have been repeatedly made that some people in the music industry are complicit in ticket resale – even while sometimes publicly criticising the touts – by actively making tickets available to resellers. Or, at least, by turning a blind eye to resellers who routinely break the rules that limit the number of tickets any one individual is allowed to buy from the primary seller.

Some promoters argue that they only ever got involved in the touting of their own tickets when it seemed that lawmakers would never regulate the secondary market, and so they adopted an ‘if you can’t beat them join them’ approach. Which is to say, if anyone is going to benefit from a resale mark-up, it might as well be the promoter.

But some reckon that promoters benefit from touting in other ways too. It helps them offload large numbers of tickets quickly aiding cash-flow, plus it provides the option to anonymously put discounted tickets on the market at the last minute if sales haven’t gone well.

Meanwhile, with a company like Ticketmaster, which has both primary and secondary ticketing platforms, there has long been the allegation that it is in the company’s interest for tickets to go from promoter to primary site to secondary site to fan, because it gets to charge two fees instead of one. It can charge a commission on the primary site, and then a higher commission on the secondary site.

In Europe, of course, the Live Nation ticketing company recently switched sides in the ongoing secondary ticketing debate, announcing it would shut down its two resale sites, Get Me In! and Seatwave. When confirming that shift, Ticketmaster UK said: “That’s right, we’ve listened and we hear you: secondary sites just don’t cut it anymore and you’re tired of seeing others snap up tickets just to resell for a profit”.

However, in the US Ticketmaster is still very much in the ticket resale game. The Toronto Star/CBC report focused on a trade fair for touts – or ‘ticket brokers’, if you prefer – in Las Vegas. The journalist fronting the report spoke to a rep for Ticketmaster’s TradeDesk platform, which helps touts organise and manage the tickets they have bought and which they are reselling on the secondary market.

The journalist asks the rep whether Ticketmaster would seek to stop him from using multiple user accounts on its primary site in order to access large quantities of tickets to resell, in violation of those rules that limit the number of tickets any one individual can buy. “Uh, no”, the TradeDesk guy responds. “I have a gentlemen who has over 200 Ticketmaster.com accounts … who syncs his tickets in every day”.

Reckoning that pretty much every tout is using multiple accounts on Ticketmaster.com to access the tickets they resell, the TradeDesk rep then muses that “they have to, because you want to get a good show, the ticket limit is six or eight, you’re not going to make a living on eight tickets”. Which is in many ways stating the obvious, but it’s newsworthy because this guy is a Ticketmaster employee.

While in the secondary ticketing business, Ticketmaster has generally been critical of touts harvesting large numbers of tickets off its primary sites in this way, and of technologies said touts use to help with the process. But the TradeDesk guy was adamant that his side of the business would never share information with the other side of the company which is looking to crack down on the kind of activities his clients participate in on a daily basis.

In a statement last week, Ticketmaster said that it did not “condone the statements made by the employee” in the Toronto Star/CBC video, “as the conduct described clearly violates our terms of service. The company has already begun an internal review of our professional reseller accounts and employee practices to ensure that our policies are being upheld by all stakeholders. Moving forward we will be putting additional measures in place to proactively monitor for this type of inappropriate activity”.

Subsequently speaking to Billboard, Ticketmaster President Jared Smith has now insisted that “we absolutely do not turn a blind eye to the misuse of our products”. He then added that the Toronto Star/CBC story was “predicated on misinformation and a misunderstanding”. However, he did then concede that “there’s clearly some things that we’re not doing well enough. We’ll learn from it and we’ll make some changes. I’m happy to make those changes. We think we should make those changes”.

He insists that Ticketmaster continues to actively stop people who harvest tickets off its primary platform in violation of its own rules and regulations. The tools employed to do this are not perfect, he says, but the company continues to hone and improve them. However, he added, just because a reseller using the firm’s TradeDesk service has 50 tickets to a show where the cap on purchases was eight, that doesn’t mean they can assume that reseller has broken the rules. “They could have bought them from other resellers or directly from the venue”, he says.

Elsewhere in the interview Smith defends the secondary market and his company’s continued involvement in it. Some of the arguments he employs relate to specific features of the US ticketing market, while others mirror the arguments previously employed by his colleagues in Europe until their decision to shut down Get Me In! and Seatwave.

“At the end of the day, the secondary market is going to exist”, Smith says. “People are going to buy these tickets, whether they use TradeDesk or not. If tomorrow we said, ‘OK, we’re in conflict, we’re going to shut down TradeDesk’, all that’s going to happen is that these tickets are going to go someplace else. [Touts] aren’t going to stop trying to buy tickets. They’ll buy the tickets, they’ll put them in a different marketplace, the tickets won’t be validated and fans will be worse off”.

But Smith does then say that new ticketing technology – including that conveniently being developed by Ticketmaster – can be used to restrict touting. “The real solution is in the ticket”, he states. “We’ve got to get rid of PDFs, we’ve got to get rid of the barcode, and we’ve got to expand identity-based ticketing. We have to use ‘verified fan’ and digital tickets so the artist has the tools that they need to be able to dictate how those tickets are sold”.

Elsewhere in secondary ticketing news, this weekend Damian Collins – chair of the UK Parliament’s culture select committee, which recently put the spotlight back on touting – penned an op-ed piece for the Daily Record. The Scottish newspaper has been more prolific than most in documenting and investigating the secondary ticketing market, and in calling for better rules and regulations of touting, and for existing rules to be enforced.

In the piece, Collins calls for Ticketmaster and other primary sites to step up their efforts in stopping touts from harvesting large numbers of tickets. He writes: “I agree with the Daily Record’s assertion that Ticketmaster should be blacklisting touts. It is very easy for the platforms to identify people who are selling large amounts of tickets”.

He goes on: “Whenever they see someone has bought a cluster of tickets for an event, all at the same time, where tickets are going to the same address or to a bunch of connected emails, the platform should cancel them at the primary stage”. Noting that activity of this kind indicates industrial level touting, he says that if and when Ticketmaster et al “can see that these tickets are being bought and resold in bulk, [the buyers] should be banned”.

Although, perhaps unsurprisingly, Collins is most scathing in his piece about that other major player in resale: Viagogo. Because, of course, the most controversial of all the secondary ticketing sites recently stood up Parliament’s culture select committee for a second time.

“We have seen with the non-appearance of Viagogo before the committee, proof that they are rogue operators who aren’t interested in playing by the rules or abiding by our laws”, Collins writes. “My message to anyone wanting to see their favourite band or sports event is clear – don’t buy from Viagogo … it’s just not worth the risk”.

Collins’ article follows the news last week that Ed Sheeran will play four more shows in the UK next year, with measures being put in place to make it even harder to tout tickets for those gigs. Sheeran’s promoter also urged fans to not buy tickets from the rogue resale site. Urging customers to only buy from official ticket agents as listed on the musician’s website, its statement added: “Viagogo.com is not an official ticket vendor for this tour”.

But the newly chatty Viagogo is adamant that it will be selling tickets for those Sheeran concerts, and that that’s just fine. Responding to the statement from Sheeran HQ, it said on Friday: “All tickets on Viagogo are genuine and we will have tickets to all Ed Sheeran’s UK tour dates at a wide range of prices. Fans can buy from us with absolute confidence that they can turn up to the gig and simply walk straight in”.

Viagogo, of course, has sued one of Sheeran’s UK promoters, Kilimanjaro Live, over the anti-touting policies it employed at the last round of his shows. It argues that, while Kilimanjaro was cancelling tickets resold on the Viagogo site, the promoter generally didn’t know which tickets had been touted unless a buyer revealed the source of their ticket at the venue.

With that in mind – and ensuring that its war of words with Kilimanjaro and its boss Stuart Galbraith continues – the company then alleged: “Ed’s promoter, Stuart Galbraith of Kilimanjaro, made grandiose claims that he could cancel any tickets listed on Viagogo but he recently admitted in a BBC interview that he cannot. In fact, he is now being sued for these and other fraudulent claims he made during the last Ed Sheeran tour”.

Kilimanjaro, of course, strongly denies all the allegations Viagogo has made against both it and Galbraith. And while it may be true that, at past Sheeran concerts, fans with Viagogo sourced tickets could often get into shows if they avoided the ‘Victim Of Viagogo’ desks, the promoter would likely point to the additional anti-touting measures it is employing next time.

Either way, while in America it is Ticketmaster’s continued involvement in resale that remains the story, in the UK it seems likely that it will be the Viagogo v Sheeran saga that keeps us most entertained as the big secondary ticketing debate marches on.

READ MORE ABOUT: Ed Sheeran | Ticketmaster | Viagogo

Tuesday 25 September 2018, 11:09 | By Andy Malt

Universal partners with 7digital

Business News Deals Digital Labels & Publishers

7digital has announced a new deal with Universal Music which will see it provide services to three of the major’s own digital music initiatives. According to reports, the plan is to build bespoke streaming products based around individual artists.

Although there are few details about the specifics of those projects, 7digital CEO Simon Cole confirmed the new deal to his investors yesterday.

He said in a statement: “We are delighted to be announcing agreements with the world leader in music-based entertainment, Universal Music Group, since each contract focuses on UMG initiatives that enable deeper engagement between artists and their fans, and leverage a range of revenue streams within digital music”.

Prior to the deal being announced, Cole told City AM yesterday that the company is looking to build streaming services “outside of the standard £9.99 [a month] model”.

READ MORE ABOUT: 7digital | Universal Music

Tuesday 25 September 2018, 11:05 | By Andy Malt

Beastie Boys announce London book launch event

Artist News Releases

The death of Adam Yauch in 2012 marked the end of Beastie Boys as a performing and recording act. You will, however, have the chance to see surviving members Adam Horovitz and Michael Diamond on stage again later this year. They’ll be in London for one of six worldwide events marking the release of their long-awaited memoir in November.

‘Beastie Boys Book’ is set to be published by Faber & Faber on 30 Oct, with a month long series of events planned around the launch. The mini-tour will reach the UK, at London’s EartH venue, on 30 Nov.

Mike D and Ad-rock will be in attendance to read from their book. They will also be interviewed and take part in Q&A sessions, all of which will apparently be live-scored by Mix Master Mike. And there will also be a new Beastie Boys exhibition to wander through.

Sidestepping the format of the traditional music memoir, the book also features contributions from other people, including Amy Poehler, Colson Whitehead, Spike Jonze, Wes Anderson and Luc Sante. There’ll also be a collection of recipes from chef Roy Choi, photographs, illustrations, a graphic novel, tracklists for mixtapes you might like to put together, a map of Beastie Boys’ New York, and more.

Tickets for the London event will go on sale this Friday here.

READ MORE ABOUT: Beastie Boys

Tuesday 25 September 2018, 11:03 | By Andy Malt

Enter Shikari release remix, announce new book

Artist News Releases

To mark the first anniversary of the release of their fifth album, ‘The Spark’, Enter Shikari have released a new remix and announced a book of lyrics.

‘The Spark – Lyrics & Exegesis Of Rou Reynolds’ is set to be published by Faber Music in November. It combines all the lyrics of the album’s songs with essays by frontman Rou Reynolds on the inspiration behind them. It follows the same format as previous book ‘Dear Future Historians’, which collected lyrics from and essays on songs from the band’s first four albums.

“I’m THRILLED to be working again with Faber and publishing my second book of lyrics and essays”, says Reynolds. “I’m a strong believer that dissection and analysis of music or art does not – contrary to popular belief – diminish it or reduce its magic. As Beethoven said, ‘don’t only practice your art, but force your way into its secrets; art deserves that’. I hope readers of this piece of explanatory literature will find it exciting and interesting”.

Of the newly released remix of ‘Live Outside’, which was the first single from ‘The Spark’, he adds: “The ‘Live Outside’ remix has been a staple of our Shikari Sound System DJ sets for a while now and always goes down a treat”.

He added that the band were “excited to finally release it into the world on the anniversary of the album’s release. We’re truly touched that ‘The Spark’ affected so many people worldwide, and so viscerally too. It was both a struggle and a joy to make, and still gives me such a rush to play the songs live”.

Watch the video for the remixed track here:

Alongside all this, the band are currently preparing for a lengthy tour of the UK, set to begin in December and run through to February.

READ MORE ABOUT: Enter Shikari

Tuesday 25 September 2018, 11:01 | By Andy Malt

Metallica announce 2019 UK & Ireland shows

Artist News Gigs & Festivals

Metallica have announced that they will be touring Europe next summer, with three shows in the UK and Ireland. Tickets are set to go on general sale on Friday.

As well as access to the show, buyers will get a physical or download copy of the band’s latest album, ‘Hardwired… To Self-Destruct’, and a download of a recording of the show they attend. The latter after it’s happened, obviously.

You’ll also be able to add top-up options to your ticket, including early venue access, a jaunt round the band’s travelling museum, and meet-and-greets. Fans feeling flush can also opt for a ‘black ticket’, which provides access to all and any shows they wish to attend.

The UK and Ireland dates are as follows:

8 Jun: Dublin, Slane Castle
18 Jun: Manchester, Etihad Stadium
20 Jun: London, Twickenham Stadium

READ MORE ABOUT:

Tuesday 25 September 2018, 10:58 | By Andy Malt

One Liners: Genting Arena, NME, Within Temptation, more

Artist News Brands & Merch Business News Digital Gigs & Festivals Media One Liners Releases

Other notable announcements and developments today…

• Birmingham’s Genting Arena is being re-branded as the Resorts World Arena, and anyone who gets it wrong will be kicked in the shins. It actually kind of makes sense, because the arena is opposite Resorts World Birmingham, a casino and entertainment complex owned by Genting, which has had naming rights on the Birmingham arena venue since 2015.

• NME’s NME 1 radio station has expanded its reach on the DAB network, meaning it can now be heard in parts of central London, as well as Brighton and Norwich. Listeners can also now play NME 1 and NME 2 by barking those names at their Amazon-Alexa-enabled device. “Being available on DAB+ in central London and having dedicated Alexa skills is a further step forward”, says Station Manager Sammy Jacob. “The developments benefit the bands and artists we support too – both established and emerging”.

• Within Temptation have released the video for new single ‘The Reckoning’, featuring Jacoby Shaddix. The track is the first to be released from upcoming new album ‘Resist’, out on 14 Dec.

• Novelist has released the video for ‘Dot Dot Dot’, from his Mercury-nominated album, ‘Novelist Guy’. “The inspiration behind the video was to provoke thought and listening, the video is quite dark and minimal for this purpose”, he says.

• Little Simz has released new track ‘Boss’, following last week’s ‘Offence’.

• One OK Rock have announced that they will play a one-off UK show at Heaven in London on 5 Dec.

• Check out our weekly Spotify playlist of new music featured in the CMU Daily – updated every Friday.

READ MORE ABOUT: Little Simz | NME | Novelist | One OK Rock | Resorts World Arena | Within Temptation

Tuesday 25 September 2018, 10:55 | By Andy Malt

Cardi B reportedly negotiating solo Super Bowl set, Foo Fighters discuss being passed over for halftime show

And Finally Artist News Media

It seems assured that Maroon 5 have indeed been booked to perform at next year’s Super Bowl halftime show. But it’s also now rumoured that Cardi B is attempting to temper that horrorshow by negotiating to perform her own solo set.

Cardi B is already thought to be booked to perform her collaboration with Maroon 5 – ‘Girls Like You’ – as part of their Super Bowl performance. However, according to TMZ, she also wants to do a few tracks on her own.

Whether or not NFL bosses go for it remains to be seen. It would at least add some hip hop to the proceedings. Although it may also be seen as another slap in the face for the very many Atlanta rappers who haven’t been asked to play the show, despite this year’s Super Bowl taking place in their city.

Since it was decided that Atlanta would host the 2019 Super Bowl back in 2016, it had been suggested that this would be a great opportunity to celebrate the city’s rich and well-established hip hop scene. Then they go and book Maroon 5. Reportedly. But there’s still time to turn this thing around.

Though if organisers are still insisting on something more guitar-based, they could at least approach a slightly more rousing band, like – says – Foo Fighters. Except it turns out that they have, several times, but have always ended up going with someone else.

“I’ve had multiple conversations over the years with them where they say, ‘We want to have a rock n roll band'”, Dave Grohl tells US radio station KROQ. “[They say] ‘Do you think you could do it? Do you think you could do a stadium?'”

“I was like, ‘Yeah man, we do it all the time'”, he goes on. “We’re like, ‘Oh my God, I think we’re gonna do the Super Bowl!’ And then it’ll be like, Madonna or Katy Perry, or somebody like that”.

After being passed over a number of times, Grohl reckons an incident at a party might have actually scuppered the band’s chances of ever getting booked to play the big sporting bash once and for all.

“I actually got really hammered at this party in France once, and got to meet the dude that does the Super Bowl thing”, he says. “I was like, ‘I don’t even want to do the Super Bowl! I used to want to do it – now I don’t want to do it anymore!'”

Yeah, saying that you don’t want to do a thing does often make people think that you don’t want to do that thing. But it doesn’t really matter that the Foos never get booked for this gig, because the band’s drummer Taylor Hawkins reckons that playing the Super Bowl “always seems to be the final chapter in your career”.

“Yeah, I don’t know if it’s jumping the shark, I don’t know”, adds Grohl, before admitting “we’re just trying to come up with excuses why we haven’t done it”.

Indeed, whoever heard of that Beyonce following her Super Bowl outing? Anyone? Actually, Hawkins is wrong, plenty of acts have done the Super Bowl and gone on to have new successes in their career. Katy Perry didn’t jump the shark, and her Super Bowl show had jumping sharks in it. Although, if Hawkins’ theory does sometimes stand up, well, we can always hold out hope that it might apply to Maroon 5.

READ MORE ABOUT: Cardi B | Foo Fighters | Maroon 5

Tuesday 25 September 2018, 10:50 | By Paul Vig

Approved: Bryan Chapman

CMU Approved

British techno in the 90s skewed away from the continental variety, going a bit more dark and introspective. Stalwarts like Dave Clarke, Dave Angel and Luke Slater spring to mind. Fast forward to 2018, we have Bryan Chapman with his first LP release, ‘Seven Shadows And Iron Lungs’, on his own Monotony label, which at times takes us back to those halcyon days.

Chapman has previously released music though 8 Sided Dice, Bouq and Monique Musique. For ‘Seven Shadows And Iron Lungs’, and Monotony itself, he has a clear vision for this and his future work.

Nevertheless, the album is a varied feast, with some more club-orientated cuts and a few slightly more inward-looking tracks. The concept of the album is apparently – as Chapman puts it – “about finding serenity in the acceptance of death”, though that doesn’t necessarily come across for me.

In terms of the Monotony label as a whole, he says his aim is “to create psychedelic and monotonous techno”. I think he does that with this release, but not in an overly self-absorbed way.

Stand outs on the record are the rather epic ‘Black’, which impresses over its thirteen minutes, and ‘Carcosa’, which is one of those tracks that takes us back to the 90s. Meanwhile the trance-y bleeper ‘Cut The Kids In Half’ does a good job of introducing his talents and the feel of his productions. Check it here:

Stay up to date with all of the artists featured in the CMU Approved column by subscribing to our Spotify playlist.

READ MORE ABOUT: Ben Chapman | Monotony

Monday 24 September 2018, 13:00 | By Chris Cooke

Bestival admits “financial challenges” as money-lender threatens administration

Business News Gigs & Festivals Live Business Top Stories

Independent festival promoter Bestival Group has admitted that it is facing “financial challenges”, but says that it is currently seeking a new partner in order to overcome the current issues and ensure its Bestival and Camp Bestival events can go ahead in 2019. This follows media reports that a company that loaned the festival business £1.6 million last year has filed legal papers confirming its intent to put the Bestival Group into administration.

According to The Sunday Times, it’s billionaire loans tycoon James Benamor who has filed administration notices at the High Court in relation to the Bestival companies. His business the Richmond Group was behind the loan firm Amigo that IPO-ed on the London Stock Exchange earlier this year. Though it was another Benamor-created entity, Richmond Group Debt Capital, that loaned money to the Bestival Group in February 2017.

The main Bestival event was launched on the Isle Of Wight by Rob and Josie da Bank all the way back in 2004, it spinning off from their Sunday Best record label and club night. The more family orientated Camp Bestival was then added in 2008 in Dorset, with Bestival itself being shifted to the same site as its sister event in 2017.

This year’s Camp Bestival took place on one of the few wash-out weekends of an otherwise splendid summer, with extreme weather resulting in the final day of the event being cancelled. Earlier this month, the festival posted an update on its website regarding refunds in relation to that cancellation, thanking ticket-buyers for their patience and saying “we anticipate being able to pay out very shortly … the bureaucratic process is almost complete”.

In a new post on the Camp Bestival website responding to the Sunday Times news story, event organisers said yesterday: “We can confirm the Bestival Group has had some financial challenges of late but the process we are in allows a new partner to come on board with the financial commitments required to deliver Camp Bestival 2019 in its finest form”.

Presumably aware that this weekend’s news had caused some to speculate about whether the financial issues would impact on the 2019 Bestival festivals – tickets for Camp Bestival 2019 are already on sale – the statement went on: “As we stand currently, there is every intention to make this show happen, and move forward into a new era. Thanks and love to all our wonderful Camp Bestival community for all your support”.

Meanwhile, in a Q&A that accompanies the statement, the festival firm said that the current financial challenges were not a direct result of the cancellation of the final day of this year’s Camp Bestival, although “it was not a positive factor for the business”. On the outstanding refunds it added: “We are hoping for an update on the refund process ASAP once we have a clear response and timeline from all agents involved”.

It’s no secret that running independent music festivals is a tricky business, with successful events often making only nominal profits, unless you go fully into the big brand sponsorship game, which has never been part of the Bestival ethos.

Those financial pressures are also why so many successful independent events ultimately sell out to one of the major players in live music, where economies of scale help maximise profitability and solid cash flow makes it easier to deal with wash out years. Though Bestival has always been proud of its independence, and fans of indie festivals will be hoping it can navigate the current challenges and retain that status at the other end.

READ MORE ABOUT: Bestival | Camp Bestival

Monday 24 September 2018, 12:58 | By Chris Cooke

Elton John settles with The Sun over libellous dog bite story, and ramps up his Universal Music alliance

Artist News Business News Deals Labels & Publishers Legal Media

Elton John and his husband David Furnish have accepted “significant” damages from newspaper firm News UK over a defamatory story published in The Sun On Sunday earlier this year which alleged that their dog had inflicted “Freddy Krueger-like” injuries on a child who had been playing at the musician’s home.

The front page Sun story said that a five year old girl had been injured during a play date with the musician’s children at his Berkshire home. It also suggested that neither John nor Furnish had shown much interest in the girls’ recovery after the incident.

However, lawyers for John and Furnish said that the girl’s injuries had not in fact been serious and that they had inquired about the girl’s welfare several times. The Sun’s story, the lawyers argued, was therefore “false and seriously defamatory”.

According to the BBC, one lawyer working for the couple, Jenny Afia, told the court that, contrary to the Sun’s report, “the truth is that the injuries were not serious, and the claimants, far from ignoring the incident, made several inquiries about the girl’s welfare to her father and nanny. Each time it was confirmed the girl was fine”.

Afia then added that News UK had now withdrawn its allegations and agreed to settle with her clients. “I am pleased to say that the newspaper has now accepted unequivocally that this allegation was false and seriously defamatory”, she said. “As a result, it has agreed now to apologise to Sir Elton John and David Furnish, and to pay significant damages as well as to reimburse their legal costs”.

A legal rep for News UK said: “The defendant offers its apology to the claimants and is pleased that the matter has been amicably resolved”.

Elsewhere in Elton John news, his company Rocket Entertainment – headed up by the aforementioned Furnish – has renewed and expanded its alliance with Universal Music which will work with the musician on his recordings, songs and merchandise, and some other bits and pieces on the side. In fact, the new partnership is almost as extensive as the press release issued to announce it, that came in at 1709 words, not including the accompanying background info on John and the various Universal Music businesses.

Here are some of our favourite words from that essay: “significant”, “extraordinary”, “multi-faceted”, “unrivalled”, “timeless”, “collaborative”, “perfect partners”, “perfect tandem”, “nurturing artistry”, “restless creativity”, “constantly pushing the limits”, “leverage”, “forefront”, “projected”, “style elements”, “broad-based global media and entertainment company”, “crossroads of music and fashion” and “the superstar’s DNA”. Feel free to jumble those up into any combination you like.

READ MORE ABOUT: Elton John | Rocket Entertainment Group | The Sun | Universal Music

Monday 24 September 2018, 12:56 | By Chris Cooke

Sony files paperwork with European Commission over EMI deals

Business News Deals Labels & Publishers

The European Commission has confirmed that it has now been formally notified of Sony Corp’s bid to take complete ownership of EMI Music Publishing. The EC has now set 26 Oct as a provisional deadline to rule on the proposed acquisition, though it may at that point simply announce a more detailed investigation into the deal.

Sony Corp, of course, led a consortium to buy the old EMI Music Publishing business in 2012, appointing its own music publisher, Sony/ATV, to administrate the EMI rights. Earlier this year it announced its intent to buy out all but one of the other investors involved in the 2012 deal. It then subsequently confirmed that a separate arrangement had been agreed with the Michael Jackson estate, which also had a stake in the EMI catalogue.

Those transactions would therefore make EMI Music Publishing a wholly-owned subsidiary of Sony Corp, which would presumably properly merge it with Sony/ATV. Once the entertainment conglom’s global music publishing business is a combined wholly-owned entity, it could more closely align Sony/ATV with the Sony Music record company. Especially once long-term Sony/ATV boss Marty Bandier has stood down next year.

The transactions are opposed by the independent music community in Europe. And pan-European indie music trade body IMPALA reasserted that opposition as soon as it was confirmed Sony had now formally filed its paperwork with competition regulators in the European Union. Those regulators must now investigate the deals and decide whether they create competition law concerns.

IMPALA boss Helen Smith told reporters: “This transaction would disrupt competition and harm consumers in an already overly concentrated music market. Given recent precedents set by the European Commission, we believe Sony’s take over will face stiff opposition”.

With that in mind, IMPALA reckons Sony’s EMI deals will require a more detailed second phase investigation by EU competition regulators.

Citing music acquisitions elsewhere in the Sony empire, especially by its label services business The Orchard, Smith added: “Sony’s power will be a particular concern in European countries where the EU already concluded in 2012 that Sony would control too much repertoire. The European Commission will be concerned about competition and higher consumer prices, as well as Sony’s recent moves to grab market share in the digital distribution market”.

“The only solution is to block the deal now”, Smith concluded. “This is necessary to avoid long term harm for consumers as well as other players in the music sector, from writers to streaming services, independent publishers, collecting societies and record companies. It also goes against key European objectives in terms of cultural diversity and SMEs and cuts across the EU’s digital single market strategy”.

It remains to be seen how Sony seeks to counter the issues raised by IMPALA and others. It will likely argue that its power in Europe is limited because the collecting societies, rather than the publishers, license song rights in most scenarios, especially with non-Anglo-American repertoire. It may also ultimately offer to sell off some of its catalogue in order to smooth the way for approval.

READ MORE ABOUT: EMI Music Publishing | Sony Corp | Sony Music Publishing

Monday 24 September 2018, 12:55 | By Andy Malt

Billboard acquires Amplify

Business News Deals Media

American music industry trade magazine Billboard has acquired US-based Amplify, an online media operation focused on the live side of the business. As part of the deal, founder Dave Brooks will head up Billboard’s live industry coverage.

“I started Amplify because I wanted to tell stories about the live music business in a new and exciting way”, says Brooks. “We built an amazing audience, and now, with this sale, Amplify and Billboard will come together to create the most impactful platform in touring and live entertainment”.

Billboard’s VP Content, Ross Scarano, adds: “We are extremely excited to acquire Amplify. Dave Brooks is a true entrepreneur who knows the live entertainment world inside out and we are THRILLED to be able to provide Billboard’s readers with more in-depth coverage of the touring industry”.

Brooks has actually been Billboard’s Senior Correspondent for live entertainment coverage since February last year. He will now work full time at the publication.

READ MORE ABOUT: Amplify Media | Billboard | Dave Brooks

Monday 24 September 2018, 12:52 | By Andy Malt

Chas & Dave’s Chas Hodges dies

Artist News Releases

Chas Hodges of Chas & Dave died on Saturday, it has been confirmed via the duo’s website. He was 74 and had been receiving treatment for cancer.

“It is with tremendous sadness that we announce the passing of our very own Chas Hodges”, reads a statement. “Despite receiving successful treatment for oesophageal cancer recently, Chas suffered organ failure and passed away peacefully in his sleep in the early hours of Saturday 22 Sep. We would like to thank our fans for their fantastic support and goodwill at this difficult time”.

Hodges was diagnosed with cancer last year, but returned to performing months later. Though in August the duo were forced to cancel upcoming shows – including an appearance at The Libertines’ Sharabang event earlier this month – due to Hodges’ ongoing treatment.

Originally an accomplished session musician, often working alongside Dave Peacock on projects, Hodges began developing Chas & Dave’s ‘rockney’ style when he began to feel a “fraud’ singing songs with an American accent.

They released their debut single as a duo, ‘Old Dog And Me’, in 1975, subsequently enjoying their biggest successes in the 1980s. Their hits from that era include: ‘Snooker Loopy’, ‘Ain’t No Pleasing You’, ‘Rabbit’ and the Tottenham Hotspur FA Cup Final song ‘Ossie’s Dream (Spurs Are On their Way To Wembley)’.

The duo officially split in 2009, following their death of Peacock’s wife, Sue, who had worked behind their scenes throughout their career. However, they reformed for a farewell tour in 2010, and subsequently continued to perform until recently.

The final Chas & Dave album, ‘A Little Bit Of Us’ – their first for five years – was released earlier this year. A new compilation, ‘Chas & Dave Gold’, is also set for release this Friday.

READ MORE ABOUT: Chas & Dave | Chas Hodges

Monday 24 September 2018, 12:45 | By Andy Malt

Posthumous Chris Cornell compilation featuring new music to be released

Artist News Releases

A new Chris Cornell retrospective compilation is set for release later this year, it has been announced. ‘Chris Cornell’ will feature tracks from his bands Soundgarden, Temple Of The Dog and Audioslave, as well as solo material, including previously unreleased song ‘When Bad Does Good’.

“Since Chris’s sudden passing I have put all my efforts and energy into sharing his music and legacy with his fans from all over the world”, says Cornell’s wife Vicky.

“I felt we needed to create a special collection to represent all of him”, she adds. “The friend, husband and father, the risk taker and innovator, the poet and artist. His soaring vocals found their way into the hearts and souls of so many. His voice was his vision and his words were his peace. This album is for his fans”.

As well as the seventeen-track compilation, out on 16 Nov, there will be a 64 track boxset, featuring a total of eleven previously unreleased tracks. Watch the lyric video for ‘When Bad Does Good’ here:

READ MORE ABOUT: Chris Cornell

Monday 24 September 2018, 12:43 | By Andy Malt

One Liners: Joe Strummer, EMMA, Liam Payne, more

Artist News Business News Deals Gigs & Festivals Labels & Publishers Management & Funding One Liners Releases

Other notable announcements and developments today…

• Warner/Chappell has signed a new deal to control the songs catalogue of Clash frontman Joe Strummer. The news comes ahead of the release of a new compilation – ‘Joe Strummer 001’ – this Friday. “I am excited to know that we will be representing Joe’s incredible music at Warner/Chappell”, says the firm’s MD Mike Smith. “It’s an honour to be entrusted with his legacy”.

• The recently formed European Music Managers Alliance has announced that Per Kviman and Virpi Immonen have been elected as the organisation’s first Chair and Vice-Chair. They also respectively head up MMF Sweden and MMF Finland.

• Liam Payne has released the video for the title track of his new EP, ‘First Time’, featuring French Montana.

• The Black Eyed Peas have released the video for new single ‘Big Love’. Their new album, ‘Masters Of The Sun’, is out on 12 Oct.

• AlunaGeorge have released new single ‘Superior Emotion’, featuring Cautious Clay. The track is taken from a new EP, ‘Champagne Eyes’, which is due out on 5 Oct.

• The Struts have released the video for new single, ‘Primadonna Like Me’, which features a little cameo from Alice Cooper.

• Petite Noir has released new track, ‘Beach’, featuring Danny Brown and Nukubi Nukubi.

• Three Trapped Tigers’ Matt Calvert has released new track, ‘Mute Heart’. It’s taken from his debut solo album, ‘Typewritten’, which is out on 12 Oct.

• Highasakite have released new single, ‘I Call Bullshit’. They’re also set to play Omeara in London on 20 Nov, with UK and Ireland dates to follow in February and March next year.

• Helena Deland has released new track ‘Lean On You’. It’ll appear on new EP ‘From The Series Of Songs ‘Altogether Unaccompanied’ Vol III and IV’, out on 19 Oct.

• Estrons have released the video for new single, ‘Body’. Their debut album, ‘You Say I’m Too Much, I Say You’re Not Enough’, is out next month.

• Wovoka Gentle have released new single ‘1000 Opera Singers Working In Starbucks’. They’ll headline the ICA in London on 8 Nov.

• Many Voices Speak has released the video for new single ‘Tank Town’. She plays her debut UK show at London’s Servant Jazz Quarters tonight.

• Check out our weekly Spotify playlist of new music featured in the CMU Daily – updated every Friday.

READ MORE ABOUT: Alice Cooper | AlunaGeorge | Black Eyed Peas | Cautious Clay | Danny Brown | Estrons | European Music Managers Alliance (EMMA) | French Montana | Helena Deland | Highasakite | Joe Strummer | Liam Payne | Many Voices Speak | Matt Calvert | Nukubi Nukubi | Per Kviman | Petite Noir | The Struts | Three Trapped Tigers | Virpi Immonen | Warner Chappell | Wovoka Gentle

Monday 24 September 2018, 12:35 | By Andy Malt

Gary Barlow insists he’s “the only one who is any fun” in Take That

And Finally Artist News Gigs & Festivals Releases

If you manage to make your way backstage at one of the upcoming Take That 30th anniversary shows, don’t expect a party.

Not unless you’re so desperate for a drink that you’re willing to hang out with Gary Barlow, that is. Gary’s the party man in Take That, you see. When not on stage, he wears a baseball cap and t-shirt bearing the moniker ‘Take That Party Man’ just to prove it. Probably.

“I’m the only one [in Take That] who is any fun”, mugs Barlow at The Mirror. “Stick with me. I am the last one standing”.

Sure, Gary. I’ve just, er, I think I left my, er, thing in the, er, over there.

If you were in any doubt about Barlow’s status as the wild man of pop, bandmate Howard Donald confirms that he once “had seventeen glasses of wine in one night”.

I’m not sure why Donald was sitting there counting how many glasses of wine Barlow was drinking. Maybe this legendary wine binge is just something Barlow himself goes around bragging about and Donald’s never thought to question the boast.

It’s hard to know what that “seventeen glasses” brag really means though, isn’t it? If you’re going by standard wine glasses, it suggests Barlow was on his way to downing three bottles all on his own, while screaming “WHERE ARE ALL MY PARTY ANIMALS AT?!” into the backstage void.

But they could have been thimble-sized helpings. At least when James Tussle at my school insisted that his cousin had been caught drink driving after consuming 73 pints of lager, there was an actual proper measurable quantity to gauge that claim on. Though, to this day I suspect that might not have been entirely accurate. We will never know for sure.

With the exact quantity of wine Barlow is able to drink remaining ambiguous, even if we believe the claims he and his bandmates have made, we need another measure of alcohol tolerance. Like, say, how many Gary Barlows are there to one Liam Gallagher?

“I would like a drink with Liam for sure – show him a thing or two”, shouts Barlow, as things all start to turn a bit ‘Withnail & I’.

Alright, how does he rate against Take That’s 90s rivals Boyzone, who are Irish after all, and are therefore obliged by the rules of stereotype to be particularly boozy.

“We’ve only ever had one night out with Boyzone and it was in Paris”, Barlow says. “They can drink. They are Irish. Oh my God. I remember one of them having fights with people and we were like ‘what is going on here?’ They are hardcore”.

You heard it here first, Ronan Keating is harder than Liam Gallagher.

Anyway, amazingly, all this pointless banter is meant to be promoting something. Take That have a new album, ‘Odyssey’, and tour dates coming up. Both will see them performing new versions of songs from their back catalogue.

For a bit of a taste of what to expect, they’ve released a new version of fan-favourite ‘Pray’, all slowed down and made super tedious. If it’s a sign of what’s to come, Take That fans might need to drink like they’re members of Boyzone to get through the shows.

Tickets for the tour go on general sale this Friday. Support will come from Rick Astley, showing that all his efforts to make his new music sound like a less good version of latter day Take That songs has paid off. Here are all the many dates:

15 Apr: Sheffield, FlyDSA Arena
16 Apr: Sheffield, FlyDSA Arena
18 Apr: Glasgow, Hydro
19 Apr: Glasgow, Hydro
20 Apr: Glasgow, Hydro
22 Apr: Manchester Arena
23 Apr: Manchester Arena
25 Apr: Manchester Arena
26 Apr: Manchester Arena
27 Apr: Manchester Arena
29 Apr: Dublin, 3Arena
2 May: London, O2 Arena
3 May: London, O2 Arena
4 May: London, O2 Arena
5 May: London, O2 Arena
7 May: London, O2 Arena
8 May: London, O2 Arena
12 May: Birmingham Arena
13 May: Birmingham Arena
14 May: Birmingham Arena
17 May: Birmingham Arena
18 May: Birmingham Arena
23 May: Milton Keynes, Stadium MK
25 May: Southampton, St Mary’s Stadium
28 May: Bristol, Ashton Gate Stadium
30 May: Norwich, Carrow Road Stadium
1 Jun: Middlesborough, Riverside Stadium
4 Jun: Huddersfield, John Smith’s Stadium

READ MORE ABOUT: Boyzone | Gary Barlow | Liam Gallagher | Take That

Monday 24 September 2018, 11:38 | By Andy Malt

Approved: Ouri

CMU Approved

Producer and multi-instrumentalist Ouri returns this week with new EP ‘We Share Our Blood’, her first for Ghostly International. It’s also her first solo release since 2017 debut album ‘Superficial’, and it finds her still firmly at the top of her game.

Each of the tracks on the EP has its own distinct mood – within an overriding sonic world – her knack for sharply defined beats underpinning and pushing forward each piece of music. On lead single ‘Escape’, that percussion emerges from a fog of synths, snapping the track into focus, before it becomes enveloped again once its story has been told.

“As I continue to create music, I want the whole experience to be even more raw”, says Ouri. “No one else is included for this one; from writing to mastering, the process is direct from me to the listener”.

Watch the video for ‘Escape’ here:

Stay up to date with all of the artists featured in the CMU Approved column by subscribing to our Spotify playlist.

READ MORE ABOUT: Ouri

Monday 24 September 2018, 08:38 | By Chris Cooke

CMU Digest 24.09.18: Spotify, MMA, Sony/ATV, Childish Gambino, Taylor Swift

CMU Digest

The key stories from the last week in the music business…

Spotify unveiled a new tool that will allow artists to directly pump their music onto its servers. Once open to all, it will mean that artists can place their music on the streaming service and earn royalties without allying with a label or distributor. There was much debate on what impact developments like this could have on the music distribution sector and especially those distribution firms that focus on DIY artists. [READ MORE]

US Senate passed the Music Modernization Act. A last minute deal with satellite broadcaster Sirius XM, which had been pushing for further amendments, meant that the copyright reforming bill could be ‘hotlined’, with no senators objecting to it being passed in this way. The House Of Representatives must now approve amendments made in Senate before the act goes to the President for his signature. Once passed, it is hoped the new laws will help overcome various copyright issues in the digital music space, not least the payment of mechanical royalties to publishers and songwriters by streaming platforms. [READ MORE]

Sony/ATV chief Marty Bandier confirmed he will step down when his current contract comes up for renewal next spring. It is widely expected that he will be replaced at the top of the world’s biggest music publisher by his former colleague Jon Platt, who announced he was departing the top job at Warner/Chappell a few days earlier. [READ MORE]

Childish Gambino countersued Glassnote Recordings in an ongoing dispute over royalties. The main disagreement centres on the distribution of monies collected by US collecting society SoundExchange. Gambino’s deal was a 50/50 revenue share arrangement. SoundExchange already pays 50% of monies directly to the artist. But Gambino argues he is also due half of the 50% paid to Glassnote. The label sued him earlier this year and he has now filed both a response to that lawsuit and his own complaint. [READ MORE]

A song-theft lawsuit against Taylor Swift was re-filed with a US appeals court. Sean Hall and Nathan Butler accuse Swift of ripping off a 2001 song they wrote for 3LW called ‘Playas Gon Play’ on her 2014 hit ‘Shake It Off’. A judge previously dismissed the case on the basis that the two lines of lyrics allegedly infringed were too generic to enjoy copyright protection. But in their submission to the Ninth Circuit appeal court, Hall and Butler argue that the matter should have had proper court consideration in front of a jury. [READ MORE]

The big deals from the last seven days in the music business…
• Warner bought merch firm EMP Merchandising [INFO]

READ MORE ABOUT: Childish Gambino | Glassnote | Jon Platt | Martin Bandier | Music Modernization Act | Sony Music Publishing | Spotify | Taylor Swift | Warner Chappell

Friday 21 September 2018, 11:15 | By Chris Cooke

Spotify to offer artists direct-upload tools

Business News Digital Top Stories

So, Spotify allowing artists to upload music directly into their platform then. That’s certainly got people talking. And while a move in this direction has seemed likely for some time, it is certainly a significant moment. Its impact on record companies and music distributors will likely be nominal at first, but it’s the latest in a number of developments that are forcing labels and distributors to think harder about how and where they add value.

Spotify announced the new direct upload feature within its Spotify For Artists platform in a blog post yesterday. It said the new feature was being launched in response to feedback from the artist community. “You’ve told us time and time again that sharing your work with the world should be easier”, the company wrote in its post.

The digital firm has already been testing the new feature with a very small number of acts, and yesterday’s post was inviting other artists to apply to participate in further beta testing. It added that feedback from the artists who have used the direct upload tool already “was instrumental in shaping the feature”.

Although invite-only for now, the tool will presumably be available to all at some point. Which means all and any artists will be able to upload their music and tweak their metadata on the fly. They will then get reporting back from the service, which will pay any royalties due directly into their bank account. Participating artists will only be licensing their recording rights through the service, with any song royalties still being paid via the publishers and collecting societies.

As an aside, as the music is uploaded, Spotify will seemingly do some sort of check that it’s not a copy of someone else’s music already on the platform, to stop opportunists from pumping a Taylor Swift or Cardi B track into the system and claiming the royalties they generate. Although if those checks were to fail, presumably Spotify would have to resort to using that ‘safe harbour’ that the music industry loves so much to avoid any copyright liabilities.

Spotify is by no means the first digital service to allow artists to directly pump their content into their system. Both SoundCloud and YouTube offered this functionality from the start and, indeed, were all about the user-upload long before they’d even really started to think about themselves as being streaming services in the conventional sense.

However, to date, anyone wanting their music on a platform like Spotify needed a label or distributor to facilitate the process. That label or distributor negotiates a licensing deal with the streaming firm and then builds the technology to actually deliver the music. They then charge the artist an upfront fee or take a cut of subsequent royalties for their trouble.

By the time Spotify came along, there were already companies like CD Baby and TuneCore that would offer that kind of service to any artist for a nominal fee or commission, with those firms already working with DIY acts that wanted to sell downloads via iTunes.

The number of companies offering this kind of service has grown over the years. Universal Music has also been active in this space for some time via its Spinnup business and Warner Music quietly put a similar set-up into beta earlier this year called Level Music.

It’s DIY distribution services of this kind that could potentially be impacted by Spotify allowing artists to directly push their music into the system without paying any fees or commission, especially if Apple and Amazon were to follow their rival in offering this option down the line. Why pay a distributor fees or a commission when you can have a direct relationship with each service and not have to share income with any third parties?

Of course, artists really need their music to be on every streaming platform with an audience, and don’t really want to have to upload new tracks to every service separately. Especially if there are lots and lots of services.

If we end up with a global streaming market totally dominated by three players – say Spotify, Apple and Amazon – then it might be realistic for artists to maintain direct relationships with all of them. But if we end up with a global streaming market with five or more key players, then the convenience of being able to use one distributor to get music into all of them would definitely be worth the relatively low fees distribution outfits of this kind charge.

Most DIY distributors also offer other services to artists, not least data tools that crunch and interpret data from multiple places. Of course, Spotify also offers other services via the Spotify For Artists platform – including the recent tool for pitching new tracks to playlist editors – though again those are limited to just one service.

As for bigger music distributors and the record companies, which take a (sometimes much) bigger cut of any income, because of the rise of the DIY distribution platforms in recent years, for sometime now they have not been able to boast about any sort of gatekeeper status when courting artists. So they already rely on the other services they can provide when seeking to demonstrate the value they deliver for the artists they work with.

That includes cash investments of course. Which actually makes the news earlier this year that Spotify had directly licensed some recordings off a small number of more established artists – and paid those acts advances – a much bigger deal for the other distributors and labels. Though there again, good distributors and labels should still have USPs that set them apart, whether that be the other services they offer, and/or a willingness to make riskier cash investments in newer talent where recoupment of that investment is less assured.

Still, all distributors and labels need to regularly review their range of services and consider new ways that they can support the artists they work with. What may seem like really valuable services today may become free-to-access run-of-the-mill tools tomorrow. Especially if it’s a service that can ultimately be automated. Therefore distributors and labels need to constantly identify new ways that they can add value in order to futureproof their business.

The other company Spotify’s direct upload tool could ultimately impact on is SoundCloud. As the latter has tried to reinvent itself as a subscription streaming service, it has often bragged about how its catalogue of recordings is so much bigger, because it is so easy for any artist to upload their content into its system. And artists have been doing that for years.

SoundCloud still has an edge as a marketing channel for artists, because it is so easy to embed its player, though Spotify is treading further onto its rival’s territory. It’s true that the majority of those extra tracks uploaded into SoundCloud and, possibly in the near future, Spotify, are tracks that most people don’t particularly want to listen to. But in terms of being able to brag about your community of DIY creators, Spotify’s brags could start to mirror SoundCloud’s.

So all in all, quite what impact Spotify’s announcement yesterday will have remains to be seen. But as lines continue to blur between labels, distributors and services, any company that inserts itself between artist and fan will have to continue to think about and demonstrate how it provides actual value in that relationship.

READ MORE ABOUT: Spotify

Friday 21 September 2018, 11:13 | By Chris Cooke

Suge Knight pleads no contest to voluntary manslaughter, gets 28 years

Business News Legal

Suge Knight has pleaded ‘no contest’ to a charge of voluntary manslaughter in relation to the 2015 incident in which the one time hip hop mogul ran over and killed another man.

The fatal hit and run incident occurred outside a burger bar in LA near where a trailer was being filmed for the NWA biopic ‘Straight Outta Compton’. Knight seemingly had an initial run in with one the men he subsequently drove his vehicle into – Cle Sloan – on the film set, after he showed up there reportedly to complain about his portrayal in the movie.

The altercation subsequently moved to the burger bar, with Sloan joined by another man called Terry Carter. It was Carter who was killed when Knight ultimately drove his vehicle into the two men.

Knight faced murder charges, which he has been fighting ever since in a suitably dramatic fashion, working his way through a legion of lawyers as he went. Along the way two of those lawyers were charged over allegations of misconduct.

Those dramas have resulted in various delays in the case, though jury selection was scheduled to begin this month. But before that could happen Knight’s people reached a plea deal with prosecutors.

Under that deal, the murder charge – which could have resulted in a life sentence – has been dropped. Instead Knight has pleaded no contest – which is basically a guilty plea – to the lesser charge of voluntary manslaughter.

Although that will also result in a lengthy prison sentence of 22 years, with another six because of the three-strike rule. He will be formally sentenced on 4 Oct.

Carter’s daughter Crystal was in court as Knight delivered his no contest plea. Outside the court she told reporters: “I’m surprised he pleaded out. Normally he likes the cameras to be on him 24/7”.

READ MORE ABOUT: Suge Knight

Friday 21 September 2018, 11:12 | By Andy Malt

Avril Lavigne returns with first new music for five years

Artist News Releases

Avril Lavigne has returned with her first new song for five years. Titled ‘Head Above Water’, it and the album it is taken from are inspired by her recovery from Lyme Disease.

“One night, I thought I was dying, and I had accepted that I was going to die”, she says. “My mom laid with me in bed and held me. I felt like I was drowning. Under my breath, I prayed ‘God, please help to keep my head above the water'”.

“In that moment”, she goes on, “the song writing of this album began. It was like I tapped into something. It was a very spiritual experience. Lyrics flooded through me from that point on”.

Through the release, Lavigne will also raise money for her Avril Lavigne Foundation charity, which supports people with Lyme Disease.

Watch the lyric video for ‘Head Above Water’ here:

READ MORE ABOUT: Avril Lavigne

Friday 21 September 2018, 11:08 | By Andy Malt

Ed Sheeran announces UK shows for summer 2019

Artist News Business News Gigs & Festivals Live Business

Ed Sheeran has announced UK shows for next flippin August. He’s so bloody organised, that boy. At least it means Viagogo will have plenty of time to plan its next lawsuit.

He’ll have to schlep all the way up to Leeds for the first two gigs, but the other two will be in Ipswich, which is near where he lives. People are calling them ‘homecoming shows’, but are they really homecoming shows if you still live in the place that you are meant to be homecoming to?

Maybe they just mean that he’ll be coming home from Leeds. Which he will. Though he was actually born in Yorkshire, so you could argue they are the homecoming shows. So maybe the Ipswich gigs are the coming home from the homecoming shows.

Anyway, as has been the case with all of his recent concerts, Sheeran is very keen for tickets not to go up on secondary sites, other than officially sanctioned fan-to-fan exchanges where they can be bought and sold at face value or less.

“Once again, Ed and his team have a strict stance against anyone using unethical secondary ticketing sites”, says a statement on the matter. “The UK shows on this tour will use ‘paperless’ ticketing technology, which means that the credit or debit card of the purchaser of the tickets will become their ticket”.

“This stops secondary sites and ticket touts being able to resell tickets at inflated prices and ripping off fans”, they went on. “Fans who become unable to go to the shows will be able to sell their tickets from 1 Nov to other fans at the price they paid plus a booking fee at their point of purchase”.

Singling out one secondary ticketing platform (aka litigant) in particular the statement goes on: “The promoters urge all customers to only use the official ticket sites listed at Edsheeran.com and are reminded that Viagogo.com is not an official ticket vendor for this tour”.

Tickets will go on general sale at 10am on 27 Sep. Here are the dates in a list format:

16 Aug: Leeds, Roundhay Park
17 Aug: Leeds, Roundhay Park
23 Aug: Ipswich, Chantry Park
24 Aug: Ipswich, Chantry Park

READ MORE ABOUT: Ed Sheeran | Secondary Ticketing | Viagogo

Friday 21 September 2018, 11:06 | By Andy Malt

Kiss announce plans for farewell world tour

Artist News Gigs & Festivals

Kiss have announced plans to hang up their, um, facepaint and tongues, after one final world tour. And this won’t be like their last farewell tour, they really mean it this time. Probably. The band’s Paul Stanley announced plans for the farewell jaunt when they appeared on ‘America’s Got Talent’ this week.

They subsequently put out a statement, saying: “All that we have built and all that we have conquered over the past four decades could never have happened without the millions of people worldwide who’ve filled clubs, arenas and stadiums over those years. This will be the ultimate celebration for those who’ve seen us and a last chance for those who haven’t. Kiss Army, we’re saying goodbye on our final tour with our biggest show yet and we’ll go out the same way we came in… unapologetic and unstoppable”.

Kiss Army members last got a chance to see the band perform for the final time in 2001, following a run of shows featuring the original line-up. Stanley and bassist Gene Simmons subsequently decided to keep going, however. Nearly two decades on, it is possible that this really will be their final outing.

No dates have been announced yet. There are no real details at all, to be honest. All we know is that it’s happening. I’m sure they’ll get around to confirming all the important stuff soon. In the meantime, here they are performing ‘Detroit Rock City’ on ‘AGT’:

READ MORE ABOUT: America's Got Talent | Kiss

Friday 21 September 2018, 10:56 | By Andy Malt

Wolf Alice win 2018 Mercury Prize

Artist News Awards

Wolf Alice took this year’s Mercury Prize last night for their album ‘Visions Of A Life’. And that’s fine.

In one of the least adventurous Mercury contests for some time, Wolf Alice beat Arctic Monkeys, Everything Everything, Everything Is Recorded, Florence And The Machine, Jorja Smith, King Krule, Lily Allen, Nadine Shah, Noel Gallagher’s High Flying Birds, Novelist, and Sons Of Kemet. In doing so, they take home £25,000 in prize money and a lovely trophy.

Accepting the award, frontwoman Ellie Rowsell – a former judge on the prize herself – said: “Thank you so much, this means so much to pick this up with my three best friends”.

Bass player Theo Ellis added: “When we first started as a band, I remember the first label meeting we ever had, we walked into the room and a geezer said, ‘What the fuck? You lot don’t look like a band at all. What are you? What are you supposed to be? All your songs sound different, you don’t look like each other’. We never really figured it out but here we are, so fuck you!”

He went on: “[That label exec] also said he didn’t want to work with women who wore make up cos it was ‘a bunch of fuss’. But here we are, and do you know what, I actually can’t believe it. Noel Gallagher’s fucking sat there looking at me, what are you supposed to say? Big up everyone who was nominated. This means the world. Anyone got a Jägerbomb?”

Praising their chosen album, the judging panel said in a joint statement: “From an incredibly broad list of remarkable music, Wolf Alice emerged as the overall winner due to their ability to deliver an album that combines the epic and intimate in equal measure. It is a journey of a record – with euphoric festival anthems and moments of subtle beauty – it is an album articulated with confidence and adventure. For them, the world awaits!”

The world might have to wait a little while they sleep off those Jägerbombs, though.

READ MORE ABOUT: Mercury Prize | Wolf Alice

Friday 21 September 2018, 10:53 | By Andy Malt

One Liners: ICMP, Mumford & Sons, Lil Peep & XXXTentacion, more

Artist News Business News Gigs & Festivals Industry People Labels & Publishers One Liners Releases

Other notable announcements and developments today…

• The International Confederation Of Music Publishers has announced John Phelan as its new Director General. He will officially replace Coco Carmona on 1 Oct. “John has impressive music industry credentials through his work at IFPI”, says ICMP chair Chris Butler. “I have no doubt that he will play a key role in advancing the interests of music publishers across the globe”.

• Mumford and his various offspring have released their new single, ‘Guiding Light’. It’s the first track from their fourth album, ‘Delta’, which will be released on 16 Nov.

• ILoveMakonnen has released a collaboration recorded with Lil Peep and XXXTentacion prior to both their deaths earlier this year.

• Young Thug has released the video for ‘Dirty Shoes’, featuring Gunna.

• Self-Esteem – aka Rebecca Lucy Taylor from Slow Club – has released new single ‘Rollout’. “In my last relationship I used to joke that I couldn’t write about her because we never had any problems”, she says of how the song came about. “And then one day she just left, and I was, like, ‘shit’. But then I was also so happy in a really sadistic way because I had something to write about”.

• Boy George and Culture Club have released another track from their upcoming reunion album. This is ‘Life’.

• Georgia is back with new single ‘Mellow’, featuring Shy Girl.

• Au/Ra has released new single ‘Emoji’. “‘Emoji’ to me, is about an online relationship/friendship where someone is afraid to show the other person who they really are – in fear of disappointing them and ruining the illusion”, she says. “Or vice versa, where someone is afraid to find out who the other person is”.

• With her new album ‘Pastoral’ out today, Gazelle Twin has announced a show at Somerset House in London’s Lancaster Rooms on 16 Nov. From the album, this is ‘Hobby Horse’.

• Check out our weekly Spotify playlist of new music featured in the CMU Daily – updated every Friday.

READ MORE ABOUT: Au/Ra | Boy George | Culture Club | Gazelle Twin | Georgia | ILoveMakonnen | International Confederation Of Music Publishers (ICMP) | Lil Peep | Mumford & Sons | Self Esteem | XXXTentacion | Young Thug

Friday 21 September 2018, 10:47 | By Andy Malt

Beef Of The Week #422: Heaven’s Gate v Lil Uzi Vert

And Finally Artist News Beef Of The Week Legal

The slow rollout of rapper Lil Uzi Vert’s second album ‘Eternal Atake’ has been interesting for the mystery surrounding it. Although more so because of the repeated legal threats from Heaven’s Gate. You know how much we love a bit of copyright litigation around here.

Heaven’s Gate is the US-based religious cult that became famous in 1997 when its members took their own lives in a mass suicide. That event occurred as the Hale-Bopp comet passed near the planet. The cult believed that behind the comet was a UFO that would transport them to a new level of existence. Reckoning that the Earth was on the verge of being “recycled”, they thought that through killing their human bodies, they would be able to catch a lift with the hidden spacecraft.

All of the group’s members being dead would make it difficult for them to subsequently hire lawyers more than 20 years later. Unless they were able to contact Earth-based attorneys from up on that spaceship. But no, while 39 members of the cult did take their lives in 1997, some stayed behind. In a quite admirable piece of forward thinking, two in particular remained in order to maintain the organisation’s website, ensuring that their message would still be available until such time that humanity was wiped out, as per their prophecy.

That website remains online to this day, preserved exactly as it was in 1997. There, anyone can access information on Heaven’s Gate’s beliefs, watch videos warning of the consequences of not joining them in evacuating the planet, download or buy their book, and look at the group’s very striking logo.

One person who’s taken a particular shine to that logo is Lil Uzi Vert. In July, he revealed the artwork for ‘Eternal Atake’, which closely mimics the Heaven’s Gate image, right down to the tagline beneath it.

In their artwork, Heaven’s Gate guarantee: “As was promised – the keys to Heaven’s Gate are here again in Ti and Do (The UFO Two) as they were in Jesus and his Father 2000 yrs ago”.

Lil Uzi, meanwhile, offers: “As was promised – the keys to Eternal Atake are here again in Luv and Rage (The UFO 2) as Lil Uzi Vert and his Father 2000 yrs ago”.

The similarity was noticed by many, not least the surviving members of Heaven’s Gate. In a statement, they told Genius: “He is using and adapting our copyrights and trademarks without our permission and the infringement will be taken up with our attorneys. This is not fair use or parody, it is a direct and clear infringement”.

Ever since, legal reps for Heaven’s Gate have reportedly been attempting to reach a settlement with the rapper. Then on Tuesday, he released the first single from the album, ‘New Patek’, the artwork for which features a keyhole symbol similar to that of the religious group’s logo.

Might this mean that the two parties had come to some sort of agreement? Nope. Of course not. Despite claims by Heaven’s Gate to the contrary, the rapper’s legal team are adamant that their client’s mimicry of the cult’s logo is definitely allowed under the fair use provisions of US copyright law.

Asked for comment by the New York Post, a Heaven’s Gate spokesperson said: “Our attorneys are working with him on direct and clear infringement of trademarks, copyrights and use of logo”.

They continued: “We are also dealing with expressions of ‘fair use’, which is cited when this kind of image is displayed. The artist has to be careful to not make full use of the spirit and meaning of the group while altering images of it to make it look like he isn’t infringing. We will see what can be sorted out. It is in the hands of attorneys”.

You’d think that people who’d spent the last two decades or so convinced that all humanity was about to be destroyed would have bigger things to worry about than protecting their intellectual property. But I suppose it’s important to have principles, even in the face of imminent Armageddon. I’m sure Taylor Swift will still be trademarking her lyrics in the midst of the rapture.

The rapper and his team have not commented publicly on all this, so we’re left to scour his tweets and lyrics for hints about what he’s thinking.

Back at the beginning of August, he tweeted: “I never really worry because I will definitely transfer to another body. Please come with me”, adding Milky Way and flying saucer emojis. So I guess that means he’s aware of Heaven’s Gate’s work, beyond their logo design skills. Although I think they’ve been quite clear that the opportunity to transfer has long since passed.

Other than that, I went through the lyrics of ‘New Patek’ and found this: “And she said ‘Lil Uzi so great, how you deal with all that hate?’ Shut up, bitch, don’t give me migraine”.

So I think you could say that my research has been inconclusive.

READ MORE ABOUT: Heaven's Gate | Lil Uzi Vert

Friday 21 September 2018, 10:36 | By Paul Vig

Vigsy’s Club Tip: A Night with Jimpster at The Cause

Club Tip CMU Approved

I’ve been tracking the ever current DJ and top quality producer Jimpster – aka Jamie Odell – and his excellent Freerange Records for quite some time.

Tonight he heads to The Cause in Tottenham to headline at this crowdfunded venue that also supports mental health charities.

He’ll be joined by one of his signings to Freerange – Demuja – and the Tunnelvisions duo, who release through Atomnation. Local talent Kozber, Mohson and DJelley are also set to play too.

Should be cracking.

Friday 21 Sep, The Cause, Ashley House Depot, Ashley Road, London, N17 9LZ, 10pm-5am, £16. More info here.

READ MORE ABOUT: Jimpster

Thursday 20 September 2018, 10:38 | By Chris Cooke

Taylor Swift’s “players gonna play” lyric theft dispute returns

Artist News Business News Labels & Publishers Legal Top Stories

The songwriters who reckon Taylor Swift ripped them off when she sang about players playing and haters hating are having another go at suing her.

This time last year Sean Hall and Nathan Butler accused Swift of ripping off a 2001 song they wrote for 3LW called ‘Playas Gon Play’ on her 2014 hit ‘Shake It Off’. The lawsuit argued that Swift’s famous lyric “Cos the players gonna play, play, play, play, play/And the haters gonna hate, hate, hate, hate, hate”, was basically a copy of the line “The playas gon play/Them haters gonna hate” from their 2001 track.

Swift’s legal team dubbed the song-theft legal claim a “money grab” and asked the judge to dismiss the case. Which he did back in February of this year. Despite the Hall and Butler side insisting that the notion of playas playing and haters hating was super innovative in 2001, judge Michael W Fitzgerald reckoned that the lyrics at the centre of the dispute were simply too generic to enjoy copyright protection in isolation.

Actually, Fitzgerald said they were too “banal”. When dismissing the case, he remarked: “American popular culture [is] heavily steeped in the concepts of players, haters, and player haters. The concept of actors acting in accordance with their essential nature is not at all creative; it is banal”.

Therefore, he said, “the allegedly infringed lyrics are short phrases that lack the modicum of originality and creativity required for copyright protection”.

However, Hall and Butler reckon that the question as to whether or not their lyrics enjoy copyright protection in isolation is more complex than Fitzgerald concluded, and therefore needs proper scrutiny in court.

They have now taken the matter to the Ninth Circuit court of appeal and – according to Law360 – stated: “The question of whether the four-part sequence of song lyrics at issue is sufficiently original to deserve copyright protection requires subjective value judgment that belongs to a jury”.

Although Fitzgerald dismissed the two writers’ lawsuit at first instance, he subsequently declined to award Swift legal costs, basically saying that Hall and Butler posed a legitimate question about the reach of copyright, even if he ultimately ruled against them.

He said in April, when knocking back Swift’s claim for Hall and Butler to cover her attorneys’ fees, that: “There are very few recording artists, if any, who have a greater interest than Ms Swift in a robust regime of copyright law. Be careful what you wish for”.

In their new legal filing, Hall and Butler argue that comments made by Fitzgerald – including that one – suggest the dismissal of their lawsuit was a “close call”, hence the argument that the whole dispute should have some proper court time.

Team Swift are yet to comment on the latest litigation.

READ MORE ABOUT: Nathan Butler | Sean Hall | Taylor Swift

Thursday 20 September 2018, 10:33 | By Chris Cooke

SoundCloud stats to be added to the chart

Business News Digital Labels & Publishers

Fans of SoundCloud, streams, numbers, stats, music charts and especially SoundCloud streams being turned into numbers and stats and incorporated into the music charts, are in for a real treat. Because SoundCloud streams are being turned into numbers and stats and incorporated into the UK music charts. What a time to be alive!

Although those of you thinking that, with SoundCloud data now being counted by the Official Charts Company for its official music charts, here’s an opportunity for everyone to listen to CMU podcast Setlist on SoundCloud and get it all the way to number one, I’m afraid there’s a snag. The devil, as always, is in the detail.

Read carefully: “[SoundCloud] streams of licensed, monetised tracks in the UK will now count toward the UK’s Official Charts”. Fucking small print. The official statement from SoundCloud goes on to say that the official charts its stats will now contribute to are “the official, trusted, weekly pulse of what’s hot in the UK music scene”. Yeah, maybe, old friend, maybe. Or not. Who knows? Who cares?

“SoundCloud is the foundational music platform for creators”, reckons the digital firm’s Director Of Content Partnerships Raoul Chatterjee. “We are committed to empowering them with the best tools and services to grow their careers. Charts are a great measure of success for creators, and we’re excited their SoundCloud streams will now count toward the UK and Ireland’s Official Charts”.

Oh yes, SoundCloud stats will be counted in the Irish charts compiled by the Official Charts Company too. What a time to be alive!

READ MORE ABOUT: Official Charts Company | SoundCloud

Thursday 20 September 2018, 10:31 | By Andy Malt

Robyn confirms new album at bloody last

Artist News Releases

All anyone has talked about in recent years is where the hell Robyn’s new album is. I think someone once briefly talked to me about something else, but then they quickly returned to the topic of Robyn and that missing new album.

Thinking about it, I suspect the main reason the Brexit negotiations are going so badly is because all the key negotiators just talk about Robyn the whole time. Well now, finally, perhaps a solution to the Irish border question can be found, because Robyn has confirmed that she will release a new album, called ‘Honey’, next flipping month.

The record is set to feature various collaborators, including Metronomy’s Joseph Mount, Kindness’s Adam Bainbridge and Zhala. Robyn herself describes the new LP as “this sweet place, like a very soft ecstasy”.

She goes on: “I danced a lot when I was making it. I found a sensuality and a softness that I don’t think I was able to use in the same way before. Everything just became softer”.

Perhaps if she hadn’t danced so much we would have got the record sooner and this whole Brexit debacle could have been avoided. Anyway, ‘Honey’ will be released on 26 Oct. Here’s a video of her announcing it. Try not to get distracted by her massive hand.

My new album Honey will be released on the 26th of October, sign up to pre-order and pre-save here https://t.co/iZU9YaHRKc pic.twitter.com/3SSztu4uyC

— Robyn (@robynkonichiwa) September 19, 2018

READ MORE ABOUT: Robyn

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