Sony/ATV signs on the dotted line with Facebook
Music publisher Sony/ATV yesterday announced it had signed a "groundbreaking" licensing agreement with Facebook. Which is annoying. I'd only just got round to mending the ground after Universal Music broke it by announcing a Facebook deal just before Christmas.

Facebook, of course, has been busy negotiating deals with all the big music companies in a bid to legitimise the music that features in videos uploaded to its platform. As with Universal's first ever deal with the social media giant, the Sony/ATV arrangement covers music on the main Facebook site, on Instagram, and on the company's new virtual reality flam film whatnot Oculus.

It's a multi-territory, multi-year deal that means, says the Sony company, "users will be able to upload and share videos on Facebook, Instagram and Oculus that contain compositions licensed from Sony/ATV's catalogue as well as personalise their music experiences with songs from the catalogue".

The Universal Music deal also included song rights, in addition to tracks from the mega-major's recordings catalogue. While at Universal the one deal covered both sets of music rights, within the Sony empire record company Sony Music and music publisher Sony/ATV are run more autonomously, hence the standalone deal on the publishing side.

Things are generally more complicated when it comes to the digital licensing of song rights, especially outside the US, because publishers don't normally control all elements of the copyrights that exist in the songs they publish, and therefore accompanying deals with the collecting societies are required. Even inside the US, when direct deals are done between digital services and music publishers, it poses various questions over how songwriters are paid, ie via their publisher or via their society or a combination of the two?

As it is, the music industry's big new deals with Facebook throw up an assortment of questions for artists, songwriters and their managers. Facebook isn't launching a conventional streaming service and has ambitions more in line with YouTube, yet it's no secret that the music companies never liked their YouTube deals. So, how are these new deals working and what does that mean for how artists and songwriters get their share of the loot? New style deals mean new complexities, and even more so on the publishing side.

But hey, at least Sony/ATV boss man Marty Bandier is "THRILLED". "We are THRILLED that in signing this agreement Facebook recognises the value that music brings to their service", says he. "And that our songwriters will now benefit from the use of their music on Facebook. We are looking forward to a long and prosperous relationship".

Speaking for the Facebookers, Tamara Hrivnak was also "THRILLED". And excited. THRILLED and excited. "We're excited to work with the largest music publisher in the world to bring amazing songs which deepen connections between friends and fans", says she. "Sony/ATV is a true leader and an absolute champion of writers in the digital space, and we're THRILLED to work with them as they grab new opportunities by the horns across all of our platforms".

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US music industry trade groups galore present united front over copyright reform in Washington
There have been a lot of copyright proposals made in Washington of late, so much so that it can be hard to keep up. To help, a plethora of American trade bodies, lobbying groups and collecting societies representing record labels, music publishers, artists, songwriters, record producers and artist managers yesterday declared their support for three specific legislative proposals made in US Congress, and two other areas of copyright reform.

The specific legislative proposals include the previously reported CLASSICS Act, which seeks to end the much previously discussed pre-1972 quirk in American copyright law which means that golden oldies aren't always due the same royalties as recordings released since 1972, despite still being protected by copyright.

The industry groups also formally backed the AMP Act, which would introduce new rights for record producers and sound engineers, and called for reform to the way satellite radio royalties are calculated, and for a general performing right to be applied to the sound recording copyright, so to remove that other quirk of American copyright law, the fact that AM/FM radio stations pay no royalties at all to artists and labels.

Finally, the industry reps threw their weight behind the recently unveiled Music Modernization Act, which would mainly sort out America's mechanical rights mess that has resulted in songwriters going unpaid and streaming services getting sued, including that mega-bucks $1.6 billion lawsuit filed by Wixen last month. The Music Modernization Act would also change the way royalties are set when song rights are licensed through the collective licensing system, in a way the music industry hopes would increase payments.

The people behind the Music Modernization Act, which is also backed by the digital music sector, hope that by presenting a united front in Washington they might be able to speed those particular proposals through.

Though there are critics of those proposals, including in the music community. The Songwriters Guild Of America, not among the long list of industry bodies backing yesterday's statement, has raised three key concerns with the Music Modernization Act, and the new mechanical rights collecting society it would create.

First, that the board overseeing that society would be dominated by music publishers rather than songwriters. Second, how unallocated royalties would be distributed by the new society. And third, the fact that it would limit future legal action by songwriters and publishers over unpaid mechanical royalties. Wixen says that it was the latter proposal that made it file its Spotify lawsuit before 2018 began, despite it already being involved in the ongoing negotiations around a previous mechanical royalties class action against the streaming firm.

Elsewhere, it's notable that the music industry's bigging up of various copyright reforms in Washington made no mention of the Transparency In Music Licensing & Ownership Act that was proposed by Congressman Jim Sensenbrenner last July.

That also seeks to overcome issues around digital licensing, mainly by orchestrating a big new music rights database. However, while many would agree a decent music rights database would overcome some of the issues in digital licensing, the music community is generally hostile to Sensenbrenner's proposals, which are seen as an initiative pushed by big tech to make it harder for copyright owners to enforce their rights.

So, at least the music community can truly unite around its distain for those proposals. Talking of unity, that was a theme yesterday as all those trade bodies formally declared their support for the CLASSICS Act, AMP Act and the Music Modernization Act, which together seek to improve things for artists, songwriters and record producers, and their respective business partners.

Noting this, David Israelite, boss of the National Music Publishers Association, said: "Today is truly a new day for songwriters and artists. We are all coming together to support each other's efforts to modernise and bring fairness to how music creators are paid. Music has value - and that value is not reflected in the way songwriters and artists are treated under century-old laws that have not kept pace with technology. Right now, there is unprecedented momentum behind efforts to fix outdated laws that prevent music creators from earning what they deserve, and I am THRILLED to say that publishers, songwriters, composers, labels, artists and [collecting societies] stand together to fix them".

Speaking for the major record companies, RIAA President Mitch Glazier added: "2018 is the year for Congress to enact many long-studied proposals that will make our country's music licensing system fairer for artists, songwriters and their label and publisher partners. A unified music community is essential if we are to take advantage of this once-in-a-generation opportunity. We encourage the Judiciary Committees to begin advancing these common-sense provisions that modernise the music licensing system, and provide fair, market-based compensation to all music creators for their property and work".

With so many trade bodies joining yesterday's announcement, there was a flood of other quotes too - which you can read here if that sounds like fun to you.

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Official Charts Company renews alliance with Kantar Millward Brown
The Official Charts Company has extended its deal with research firm Kantar Millward Brown through to 2025 so that they can continue working together on all that musical counting you love so much.

By the end of the current contract, Kantar Millward Brown (originally, in much simpler times, Millward Brown) will have been involved in compiling the UK music charts for more than three decades. Though, despite its involvement in the charts since 1994, the research company won the new contract following a competitive tender process.

Confirming all this, OCC boss Martin Talbot said: "In our three decades working together, the Official Charts and Kantar Millward Brown have seen huge changes in the charts and the way data is presented to the entertainment industry. I have no doubt there will be further evolution in the years to come - and there is no team we would rather have by our side than our friends in the Kantar Millward Brown chart unit".

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Frontiers Music signs up The Orchard for physical distribution in the UK
Italian record label Frontiers Music has announced it is extending its partnership with Sony Music's The Orchard so to include physical distribution in the UK and Ireland.

The rock label previously used Universal's label services business Caroline for physical distribution in the UK, though already works with The Orchard on digital distribution. Sony also handles the indie's physical distribution in North America and Australia, originally via its Red business, which merged with sister company The Orchard last year.

Confirming the expansion of its alliance with The Orchard, Frontiers President Serafino Perugino said yesterday: "After more than ten years in The Orchard family for digital sales and with the expansion of partnership that our label experienced in the North American and Australian markets, it was a natural step to allow The Orchard's newly established UK physical distribution operations to take care of our physical sales in the local domestic market. This will surely allow better and more detailed marketing for each release and improve the label's profile in the British markets".

He added: "We thank Caroline for the efforts done so far and look forward to a fantastic cooperation with The Orchard UK in the years to come".

Speaking for The Orchard, its UK MD Ian Dutt said: "We are delighted to be extending our business with Frontiers in the UK. They are a label with great heritage and more importantly an amazing forthcoming release schedule. The Frontiers team are a joy to work with and we can't wait to help them deliver a stellar 2018 and beyond".

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Eventim launches fan-to-fan ticket resale platform
Ticketing company Eventim UK has launched a new resale platform FanSale, aimed at ensuring resold tickets get to music fans at reasonable prices.

The website allows the resale of tickets originally bought from Eventim, with prices capped at 10% of face value. FanSale verifies that tickets are genuine and also handles delivery of the resold tickets from seller to buyer. As a result, the company says, buyers can be confident that they won't have to pay over the odds for a show sold out on primary services, and that the tickets will actually turn up after they've paid for them.

Eventim UK's Director Of Development Dale Ballentine says: "FanSale is about 'fan first thinking', we want to make sure fans get tickets for a fair price. We know that sometimes fans cannot attend their event as planned. FanSale will help solve these problems, and ensure tickets are not sold at an extortionate price, making events more accessible for the real fans".

Commenting on the launch, Adam Webb of anti-ticket-touting group the FanFair Alliance adds: "Research commissioned by FanFair last year highlighted that the majority of music fans would like a mechanism to resell their tickets if they can no longer attend an event. They don't want to profit, just to recoup their costs in a safe and efficient environment. It has been hugely positive to see a growing number of responsible ticketing companies, like Eventim, listen to consumers and move in this direction - and we hope more will follow in 2018".

Check out FanSale here.

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Geoff Meall joins Coda
Booking agency Coda has announced the hire of Geoff Meall, who joins the company after a long career at The Agency Group, which became part of UTA in 2015, where he continued to head up the London office.

Confirming he had now jumped over to Coda, Meall said yesterday: "I'm delighted to start the next chapter of my agency life. Once I made the decision to make a move there was only really one choice - Coda in my opinion are the most dynamic agency in the business. Their A&R signings and successes over the last few years have been unparalleled".

Noting the partnerships with other agencies that Coda has struck up in recent years, Meall added: "They have the benefits of their partnerships with Paradigm, X-Ray and ITG, yet retain a maverick and independent culture. It's also a fun place to work and that should always be the first priority! I'm excited to be part of the future of Coda".

Coda partner Alex Hardee added: "Its fills us with great pride that someone of Geoff's experience, influence and standing in the music industry has joined Coda. He will bring a breadth of musical knowledge to Coda that will only complement and strengthen the existing management team. It's a shame he is a Scouser, otherwise it would have been the perfect addition".

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The Weeknd cuts ties with H&M over "coolest monkey" photo
The Weeknd has announced that he is ending his partnership with H&M. This follows the controversy surrounding a photo of a black child wearing a hoodie with the slogan "coolest monkey in the jungle" that was posted on the clothing brand's website.

The musician first announced his tie-up with H&M in 2016, collaborating on a range of clothing featuring his own XO brand as well as modelling for the company.

Posting a screengrab of the offending image, The Weeknd tweeted yesterday: "Woke up this morning shocked and embarrassed by this photo. I'm deeply offended and will not be working with H&M anymore".

The hoodie, which was on sale in the UK, has now been withdrawn entirely. In a statement to Pitchfork, the company said: "We understand that many people are upset about the image. We, who work at H&M, can only agree. We are deeply sorry that the picture was taken, and we also regret the actual print. Therefore, we have not only removed the image from our channels, but also the garment from our product offering globally".

It continued: "It is obvious that our routines have not been followed properly. This is without any doubt. We will thoroughly investigate why this happened to prevent this type of mistake from happening again".

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Idlewild to play Help Musicians Scotland launch show
Idlewild will headline a show at King Tut's in Glasgow next week, launching music charity Help Musicians UK's new Scottish division. The acoustic show will see the band supported by Be Charlotte, Indigo Velvet and Skjør, all of whom have received help from the charity in the past.

"We are absolutely THRILLED to support the launch of Help Musicians Scotland at one of our favourite venues, King Tut's", says Idlewild's Rod Jones. "We've played some really special gigs at the venue, the first 21 years ago and a five night stint in 2008, so it's truly an honour to return for such a great cause. Help Musicians Scotland do amazing work to support musicians at all stages in their career. We're planning a special acoustic set for the evening and fans should expect a fitting setlist to mark a landmark moment for the Scottish music industry".

Director of HMScotland Claire Gevaux adds: "After a year of listening and reflecting on the needs of the Scottish music scene, I'm excited to see HMScotland launch in a few weeks. I look forward to sharing more of our ambitions at the launch on 1 Feb 2018 when we will set down our permanent roots across the whole of Scotland".

Taking place, as noted there, on 1 Feb, tickets for the launch show will go on sale on Wednesday with all proceeds going to the charity.

Find out more about the launch of HMScotland here.

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Matt Hancock MP, Kobalt, Virgin Radio, more

Other notable announcements and developments today...

• Digital Minister Matt Hancock was among those to be promoted when UK Prime Minister Theresa Mayhem decided to shuffle her ministerial deck yesterday. He's moving up to the top job at the Department Of Digital, Culture, Media & Sport, a department he first joined in 2016. And he's "THRILLED" about it.

• Kobalt has made Lonny Olinick the CEO of its recordings division. He'll oversee AWAL and Kobalt Music Recordings. Previously the company's Chief Strategy Officer, Olinick confirmed his new job in a statement that is in no way, shape or form in any way even slightly over the top: "This is the dawn of a new era and we will be at the digital forefront, just as we were with publishing".

• The all-new Virgin Radio has an all-new Head Of Music in the form of Christian Smith, who will join the News UK-owned station in March having spent the last four years at Global's Capital FM. "Let's get this party started", says he, seemingly under the impression he's been hired to organise some sort of party.

• Justin Timberlake is doing the big Super Bowl half time show, we know that, but the artist set to kick the whole thing off this year by singing the US national anthem is Pink. The singing will happen on 4 Feb. As will whatever else it is that goes on at the Super Bowl.

• David Byrne has announced that he will release new solo album 'Reasons To Be Cheerful' on 9 Mar. From it, this is 'Everybody's Coming To My House'.

• Noted elitists Franz Ferdinand have released the video for new single, 'Feel The Love Go', exclusively on Apple Music.

• Foals frontman Yannis Philippakis is launching a new club night, called Milk, at Peckham's Rye Wax venue. The first one will take place on 18 Jan, with tickets limited to 100. Live performances at each night will be recorded and released on vinyl.

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

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Lana Del Rey hints that Get Free may be dropped from latest album due to Radiohead dispute
Lana Del Rey commented further on her legal battle with Radiohead at a concert in Denver on Sunday night, it has emerged. The singer warned that her song, 'Get Free', may be removed from her 'Lust For Life' album as a result of a plagiarism claim by the band.

As previously reported, Del Rey confirmed reports that she was being sued by Radiohead at the weekend. The dispute is over similarities between her song and Radiohead's 'Creep'. She said that she had offered the band as much as 40% of publishing rights in the song, despite not agreeing that her song rips off theirs. "Their lawyers have been relentless" in pushing for 100%, she said. "So we will deal with it in court".

Hours later, she further discussed the case on stage, although she then said that she wouldn't be commenting much, if at all, on the case moving forward.

She told fans: "Regardless of what happens in court, the sentiment that I wrote in that particular song ... was my statement for the [album], my personal manifesto, my modern manifesto. I just want to let you know ... that I am really going to strive for [those sentiments], even if that song is not on future physical releases of the record ... That's probably the last thing I'll say about it".

Radiohead have not yet commented on the case. Neither have Albert Hammond and Mike Hazlewood, who were added to the songwriting credits of 'Creep' after they complained that Radiohead had plagiarised them.

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