TODAY'S TOP STORY: Cross-sector trade group UK Music yesterday called on the British government to set up a specific taskforce to help the music industry navigate the ongoing COVID-19 shutdown and the slow relaxation of shutdown measures that is planned for the next few months... [READ MORE]
TOP STORIES As UK government publishes plan for ending COVID-19 shutdown, UK Music calls for music industry specific taskforce
DEALS Warner Chappell announces partnership with China's NetEase CloudMusic
Universal allies with Nigeria-based Aristokrat Group
Warner Music allies with Ziiki Media in India
MEDIA BBC Radio 3 to begin broadcasting new live performances next month
AWARDS Robert Johnson biography takes Penderyn Music Book Prize
ONE LINERS The 1975, Tkay Maidza, JME, more
AND FINALLY... Spotify launches group listening function for your lockdown disco
Check out all the latest job opportunities with CMU Jobs. To advertise your job opportunities here email [email protected] or call 020 7099 9060.
Kudos Records is seeking applicants for the position of Marketing & Social Media Manager. Applicants should ideally have a minimum of one year's experience working in a similar role within a commercial setting.

For more information and to apply click here.
Sentric Music Group is looking for a driven and personable Senior Client Manager with solid music industry knowledge to deliver a first class relationship and reporting service across clients of Sentric Music Group, coordinating all operational stakeholders involved in the delivery of service objectives.

For more information and to apply click here.
Online vinyl and music equipment retailer Juno is looking for an experienced music and reviews editor to manage and develop its expanding online content.

For more information and to apply click here.
CMU Insights presents a special series of webinars for music people during lockdown providing insightful, easy-to-follow, super-timely guides to music rights, music marketing, the digital market, record deals, and much more.

The webinars are presented by CMU's Chris Cooke, who has trained thousands of artists, songwriters and music industry professionals all over the world. They are perfect for anyone working in or with the music industry who wants a solid understanding of the business of music, and where the industry is heading next.

The webinars will take place each Tuesday, Wednesday and Thursday at:
2.30pm UK TIME | 3.30pm CET | 9.30am EDT

We are currently taking bookings for twelve Lockdown Webinars - full information below. Places are available at the special discounted rate of £20 per webinar - with further discounts for premium subscribers and/or if you book into multiple sessions.

Tuesday 12 May | BOOK TICKETS
How do sync deals work? This easy-to-follow webinar explains the ins, the outs and the complexities of the synchronisation business, outlining how music is licensed when it appears in TV shows, movies, games and ads.
Wednesday 13 May | BOOK TICKETS
The global record industry continues to grow on the back of the streaming boom, though challenges remain in the streaming business. We outline and explain all the key challenges, and suggest what solutions may be employed by the services and the music industry.
Thursday 14 May | BOOK TICKETS
What data is being gathered about the fanbases of the artists you work with and who has access to it? This webinar talks through the ten key categories of fan data, how artists can access and utilise it all, and where data protection law fits in.
Tuesday 19 May | BOOK TICKETS
While there are some basic principles that join up all the copyright systems around the world, there are also some key differences from country to country. And with American copyright law, some things are just plain weird. This webinar gives you an easy-access guide to at least five ways that US copyright is different to the UK and Continental Europe
Wednesday 20 May | BOOK TICKETS
The music industry went to war with YouTube over safe harbours and the value gap. What does that even mean? And who is winning the battle? We look at 2019's controversial European Copyright Directive and what impact it will - or will not - have, and whether those reforms can - or will - be adopted by the US. Plot twist: maybe YouTube wasn't even the real problem.
Thursday 21 May | BOOK TICKETS
It took the music business fifteen years to make digital work - and the process was painful. For the music media that pain is still real. In a world where everyone is an influencer and content is free, we look at how music media make money; what influence really means; how media consumption works for the Spotify generation; and what this means for the music industry.
Tuesday 26 May | BOOK TICKETS
The music rights business makes money by exploiting the controls that come with the copyrights in songs and recordings. Get to grips with all the basic principles of copyright law and how music copyright makes money in this user-friendly easy-to-follow webinar.
Wednesday 27 May | BOOK TICKETS
Streaming now accounts for more than half of recorded music revenues worldwide - and in many countries it's much bigger than that. Get fully up to speed on all the key trends and developments in the global streaming music market in this super timely webinar.
Thursday 28 May | BOOK TICKETS
The artist/label relationship has evolved a lot in the last fifteen years. Today artists have a much wider range of options when choosing a business partner to work on their recordings. This webinar explains that evolution and runs through the key deal types now available.
Tuesday 2 Jun | BOOK TICKETS
Getting songwriters and artists paid when their songs and recordings are played often comes down to whether or not the right data is in the system. But what data? This webinar runs through all the key data points and explains how to get information into the system.
Wednesday 3 Jun | BOOK TICKETS
The streaming business is complex in terms of how services are licensed, and how artists and songwriters get paid. Get to grips with it all via our concise user-friendly guide to digital licensing and streaming royalties - explained in full in just ten steps.
Thursday 4 Jun | BOOK TICKETS
What are the tools, tactics, channels and platforms utilised by the music industry when promoting artists, releases and events in 2020? This webinar provides a speedy overview of the modern music marketing toolkit and the ten main tools inside.
Navigate and understand the music business with guides and reports from CMU...
NEW! The Evolution Of Catalogue Marketing In Ten Steps | CLICK HERE
How record companies market their catalogues in the streaming age
The Evolution Of Record Deals In Ten Steps | CLICK HERE
A ten step guide to changes in the artist/label relationship
Digital Music Market In Ten Steps | CLICK HERE
A ten step guide to the digital music market today
Copyright Jargon In Ten Steps | CLICK HERE
A ten step guide to some key copyright terminology
The Anti-Touting Campaign In Ten Steps | CLICK HERE
A ten step guide to the campaign to regulate online ticket touting
GET FULL ACCESS TO THE CMU LIBRARY by going premium for just £5 a month

As UK government publishes plan for ending COVID-19 shutdown, UK Music calls for music industry specific taskforce
Cross-sector trade group UK Music yesterday called on the British government to set up a specific taskforce to help the music industry navigate the ongoing COVID-19 shutdown and the slow relaxation of shutdown measures that is planned for the next few months.

After a flurry of mixed messaging in the British newspapers last week; a TV address from Prime Minister 'Boris' Johnson that reassured some and confused everyone else; and a series of contradictory statements from Johnson's top team that were simultaneously hilarious and horrifying; an official document was published yesterday called 'Our Plan To Rebuild: The UK Government's COVID-19 Recovery Strategy'.

It sets out a three step "roadmap" for relaxing the shutdown measures put in place in the UK to restrict and delay the spread of COVID-19. The priority is seemingly getting those people who have been unable to work in recent weeks - because their jobs weren't deemed essential and they can't do said jobs from home - back into the workplace. Though preferably without everyone swamping the country's significantly scaled-back public transport networks (yeah, good luck with that).

Of course, even for competent governments, planning for an end to shutdown is tricky, given that there are still so many unknowns about the spread and impact of COVID-19, and concerns remain that - while the number of new cases and number of deaths may have peaked in many countries - there could as yet be a second spike of infections. It's all the harder in those countries like the UK where lacklustre testing and dubious maths means it's hard to know to what extent you really are beyond the first (and hopefully only) peak.

This means that people and businesses are unlikely to get anything like the clarity they want about exactly when different measures will be dropped; when things will start to get back to something like normal; and quite what the risk is that as soon as normality returns another COVID-19 spike will force all those draconian measures back into effect. Though, in a way, those governments brave enough to say "there'll be no more concerts until at least October" are more helpful than those that say "some point, soon, maybe later, maybe, maybe, maybe".

Under the current UK plan (although not all of the UK plan applies to all of the UK), non-essential retail will start to re-open in early June and then hospitality and leisure businesses might be able to open again in early July. Though, while "hospitality and leisure" could include pubs and cinemas, sporting and entertainment venues are unlikely to be included until later. As a halfway house, it's thought that maybe sporting and cultural events could resume behind closed doors in June, basically turning venues into studios.

Throughout all of that process social-distancing rules will remain. That has, of course, sparked much debate as to what such rules will mean for how many people any one shop, bar and venue will be allowed to admit at any one time and how those people are then policed. And, most importantly, whether such restrictions affect the commercial viability of re-opening those businesses and, in the case of venues, of staging events in them.

Responding to the UK government's grand three stage plan, UK Music Chair Tom Watson said yesterday: "The government is right to try to move towards kickstarting our economy, provided it can ensure protecting public health is paramount at all times. However, these latest proposals on the easing of the coronavirus lockdown are missing the clarity that the UK music industry so desperately needs".

And, while clarity is - as noted - tricky at the moment, governments elsewhere in the world have offered more of it, Watson implied. "There is a risk the British music industry will be left behind as other countries come out of lockdown", he went on. "We cannot afford that to happen to the UK's world-leading music industry which is really suffering".

With all that in mind, "we would urge the government to establish a formal taskforce with the music industry to ensure our businesses and events are COVID-19 secure - so our members can try to plan for the months ahead".

In addition to more clarity on coming out of lockdown, Watson also sought reassurances that the government won't phase out too early the various economic support schemes that have been set up in response to COVID-19. He concluded: "It is vital that while we all work towards getting the live industry under way again and record stores reopened, that all the government support packages are not cut back until we get back on our feet".


Warner Chappell announces partnership with China's NetEase CloudMusic
The Warner Music songs business Warner Chappell has announced an alliance with Chinese streaming service NetEase Cloud Music that will see the two firms collaborate on various ventures, including the evolution of online karaoke services and the general development of intellectual property rights in China.

There has been much talk about the streaming boom in China, of course, with NetEase Cloud Music and the various services operated by its rival Tencent Music together transforming the country into the seventh biggest recorded music market in the world.

As a result of this, global record companies have been ramping up their operations in China, though there has generally been less activity on the music publishing side. There have been deals between the global publishers and the Chinese streaming companies - and the majors have often bundled Anglo-American song catalogues into their label deals - but most of the opportunities for the songs side of the business in the Chinese market are yet to be tapped.

That despite the fact that the most lucrative side of Tencent Music's business is its karaoke and live-streaming services, where generally it's the publishing rather than the recording rights that are being exploited. Complexities and confusion around the technicalities and ownership of song rights in China makes capitalising on those opportunities challenging, but there are potentially big rewards for those who meet that challenge.

Which means the new partnership between Warner Chappell and NetEase - and the projects and services it may or may not facilitate - will be very interesting to watch.

The former's Digital VP for the region, Zoe Wang, says: "I'm delighted that we've been able to partner with the brilliant team at NetEase Cloud Music. We share a passion for enabling fans to access our amazing songwriters' music and for creating great experiences that their users will truly value. We hope the Warner Chappell Music catalogue will further accelerate the growth of the digital music business in China with NetEase Cloud Music".

Meanwhile, NetEase Cloud Music VP Ding Bo adds: "We are so pleased to be working with Warner Chappell Music, which has such a vast catalogue of songs that are hugely influential in China. We look forward to collaborating with them to create new experiences that'll engage our highly active online community. That will ensure that Warner Chappell's songwriters can benefit from the popularity of their work with Chinese music fans".


Universal allies with Nigeria-based Aristokrat Group
Universal Music, through its French division, has announced a strategic partnership with the Lagos-based Aristokrat Group via which the two companies say they will "discover and develop exciting new African talent", and then seek to help those artists find a global audience "with support from Universal Music Group companies around the world".

The Aristokrat Group works in various strands of the music industry in its home country of Nigeria, including recordings, publishing, live and brand partnerships. It is perhaps best known for developing the career of Burna Boy, who now works with Warner on his recordings, but Universal on exploiting his song rights.

The new joint venture will work with artists on both their recordings and songs, with initial signings including Kel P, the producer who worked with Burna Boy on his 2019 album 'African Giant'. Universal's label services unit Caroline will handle the distribution on all the releases put out by the new joint venture business.

Confirming the deal, Universal Music France CEO Olivier Nusse said: "I am very proud that Aristokrat Group has chosen Universal Music France as its strategic partner to reach a global audience. We are convinced that Aristokrat represents the sound of New Africa and we look forward to working with our UMG labels globally to ensure that people around the world, can discover and dance to this sound".

Meanwhile, The Aristokrat Group's founder and MD Piriye Isokrari added: "This is an exciting time for African musicians, producers and companies such as ours. Over the last decade we've been at the forefront of cultivating this sound and building sustainable structures locally, and we are happy to be able to bring our music and culture to the global market through this partnership with the Universal Music Group".


Warner Music allies with Ziiki Media in India
Warner Music has announced a new partnership with Ziiki Media, a Johannesburg-based talent management and music distribution business with bases in multiple African markets and India. The new deal will focus on the latter, where Ziiki mainly focuses on artists and releases from the Punjabi music scene.

Announcing the deal, the two companies talk up the popularity of Punjabi music in India itself and well beyond, especially in those countries with a large Punjabi diaspora. It also notes how "Ziiki has built a huge following online" in the Indian market, with 110 YouTube channels that "have attracted more than fifteen million subscribers in India alone".

Under the new deal, Ziiki will work with the newly opened Warner Music India and the major's ADA label services division on its Indian repertoire.

Confirming the new tie up, Warner Music's Alfonso Perez-Soto said: "We've got a strategy to engage with a wide range of artists and genres in India and ramping up our presence in Punjabi music is central to that approach". While the major's Eliah Seton, who oversees ADA, added: "Punjabi music is a thriving scene that's been growing organically across India and beyond, and we can turbocharge that growth".

Meanwhile, over a Ziiki Media, CEO Arun Nagar said: "I'm so excited to be working with Warner Music and ADA. This deal will enable us to ramp up our presence in Punjabi music - discovering and signing more acts, creating more audio-visual content and getting more amazing music to fans. The appetite for Punjabi repertoire is huge, not just across India, but also around the world. This partnership also gives us the opportunity to explore interesting collaborations between our artists and Warner Music's international talent pool".


BBC Radio 3 to begin broadcasting new live performances next month
BBC Radio 3 has announced plans to begin broadcasting new venue-based live performances again. Starting in June, the radio station will air daily performances by a variety of solo musicians and duos. Each will play with no audience at West London's Wigmore Hall.

Musicians already signed up to perform include Imogen Cooper, Lucy Crowe, Iestyn Davies, Benjamin Grosvenor, Angela Hewitt, Paul Lewis, Mark Padmore, Ailish Tynan, Mitsuko Uchida, and Roderick Williams. An initial run of 20 performances is planned, starting on 1 Jun.

"Live music is in the DNA of Radio 3 and so its loss is felt by all, not just at home but also in the music industry", says Radio 3 Controller Alan Davey. "It is therefore a great joy to restore this service to the nation whilst also ensuring maximum health and safety. My thanks to Wigmore Hall for once again collaborating with us on the venture and also to the performers for helping us to bring live classical music back into the nation's homes during quarantine".

Wigmore Hall's John Gilhooly adds: "The health and safety of our staff and the musicians will always be Wigmore Hall's foremost concern. I am very grateful to BBC Radio 3 and every musician taking part in these concerts, under the safest possible conditions. Through this series we bring great live music from our acclaimed acoustic to every corner of the nation and overseas".

In addition to the performers, the only other people in the venue will be a BBC Radio 3 producer and sound engineer, and one member of Wigmore Hall staff. All will remain at least two metres away from each other at all times.

The first performance will be a piano recital by Stephen Hough on 1 Jun.


CMU Insights at AIM House: Going Global - What Did You Learn?
The Association Of Independent Music is presenting its annual AIM House conference programme (which usually takes place at The Great Escape) virtually this year - it's this Friday - and CMU Insights will curate a strand within that programme. As the big day approaches we are running through some more of the sessions CMU will present.

GOING GLOBAL: WHAT DID YOU LEARN? at 2pm on Friday 15 May
In the digital age, artists have global reach from the off. From the moment an artist first uploads a track to SoundCloud, in theory that artist can reach anyone with an internet connection anywhere in the world. And sometimes that just happens organically. And sometimes - when that does happen - nobody is quite sure why.

However, building and commercialising a global audience for an artist remains hard work. Even when the stats tell you that an artist has a growing fanbase in any one country or city, capitalising on that often still requires on-the-ground support in some way.

And once you are releasing, marketing, touring and otherwise monetising music in new countries, there's often lots to learn about how things work there. Because while there is now a global music business, in each country commercial and cultural trends and conventions - not to mention copyright law, how contracts are written and enforced, and how people get paid and taxed - can be very different indeed.

To get some insights on what to look out for, we'll be joined by a panel with plenty of experience of launching artists into new markets. The questions are simple - as your artists went global: What did you learn? What surprised you? What were the biggest challenges? What would you do differently next time?

Joining us for our going global discussion will be Adam Tudhope from Everbody's, Cecilie Torp Holte from Circle Management, Meg Symsyk from Entertainment One and Ric Salmon from ATC. CMU's Sam Taylor will host.

To access these CMU sessions - and all the other debates, conversations and workshops taking place as part of the AIM House virtual conference - get signed up for free here.

Robert Johnson biography takes Penderyn Music Book Prize
Bruce Conforth and Gayle Dean Wardlow's 'Up Jumped The Devil: The Real Life Of Robert Johnson' has been named the winner of this year's Penderyn Music Book Prize.

Launched in 2015, each year the award celebrates what a panel of judges deem to be the best music book published in the last year. Last time it went to folk musician Shirley Collins for her autobiography 'All In The Downs'.

In 'Up Jumped The Devil', Conforth and Wardlow attempted to write a book that avoided the various myths and fictions written about American blues musician Johnson since his death in 1938, aged 27.

"My co-author Gayle Dean Wardlow and I are THRILLED and honoured to accept the sixth annual Penderyn Music Book Prize on behalf of Robert Johnson", says Conforth. "To have our book be picked ahead of so many other worthy publications is truly overwhelming".

He goes on: "I said that we were accepting the prize on behalf of Robert Johnson because for 50 years it has been our dream to free Johnson from the belief that he was merely a phantom about whom next to nothing would ever be known and to give him back his true identity".

"Since 1937", he adds, "when John Hammond wrote the first review of a Johnson recording for the American communist magazine New Masses, Robert's life has been written about and discussed through best-guesses based on little or no information, supernatural myths, fanciful fabrications, and outright lies ... We therefore wrote our book not to seek anything other than to return Robert Johnson's humanity to him. By doing away with the myths and providing the most comprehensive facts possible we wanted to give Robert his life back".

The full shortlist for this year's Penderyn Prize was as follows:
Up Jumped The Devil: The Real Life of Robert Johnson - Bruce Conforth & Gayle Dean Wardlow
It Gets Me Home This Curving Track: Objects & Essays 2012-2018 - Ian Penman
The Lark Ascending: The Music Of The British Landscape - Richard King
Record Play Pause: Confessions Of A Post-Punk Percussionist Volume 1 - Stephen Morris
Another Planet: A Teenager In Suburbia - Tracey Thorn
The Searing Light, The Sun & Everything Else, Joy Division The Oral History - Jon Savage



The 1975 have rescheduled their big Finsbury Park show that was supposed to take place in July this year to 10 Jul next year. Tickets for the original date can be transferred to the new date.



Tkay Maidza has signed to 4AD and released new single 'Shook'. The track is taken from a new EP set for release later this summer. Her first album for the label will be out next year.



Another track from JME's offline-only album 'Grime MC' has disappointingly made it onto the internet. Here's the collaboration with his brother Skepta, 'Nang'.

Jon Hopkins has released a new 21 minute track titled 'Singing Bowl (Ascension)'. It's the first in a series of lockdown-inspired meditations, apparently. "Like so many people I felt pretty paralysed by this situation when it first unfolded", he says. "But gradually I found I wanted to create something - to find peace and perspective through making music, as I have always done". The full track is available on streaming services and you can listen to an excerpt here.

Slowthai has released new single 'Enemy',

Charli XCX has released the latest single from her lockdown album 'How I'm Feeling Now'. Here's 'I Finally Understand'.

Kim Petras has released new single 'Malibu'. The track, she says, "is a return to colour, the feeling of being in love, and the escapism pop that I love the most".

Emilie Nicolas has announced that she will release new album 'Let Her Breath' on 5 Jun. "I think it's an album that shows some new sides of me", she says. "I hope it makes you want to dance, and at the same time provides moments of calm, warmth and reflection". From the album, this is 'If I Call'.

Babii has released new single 'Beast+', taken from the new expanded version of her 'iii' EP.



Yourcodenameis:milo have announced that they will play their first show together since 2007 in support of Newcastle venue The Cluny. Lockdown permitting, it will take place on 18 Sep at The Cluny.

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


Spotify launches group listening function for your lockdown disco
So, think back now to your first pretend-night-in-the-pub video chat with friends or family, way back whoevenknowshowlongagoitwasnow. Remember when you said to everyone, "Hey, we should all listen to the same music together, I'm sure you can do that in Spotify"? Then you discovered that you could not.

Remember how you spent hours leading up to your fake-party-on-Zoom researching other options for concurrent playlist sharing, only to discover that there was nothing really satisfactory and easy to set up? So then, in the end, two of you ended up listening to a livestreamed UK garage classics DJ set on YouTube while everyone else just sat in silence? Remember that? It can't just be me who had that exact experience.

Anyway, Spotify has fixed it now. It's launched a new thing called Group Sessions. It basically does the same thing as the old Spotify-integrated Soundrop app that the streaming service forced to close down six years ago and has only now thought to replace. Despite the old Soundrop app being the peak of streaming music history.

Group Sessions basically allows people with premium Spotify accounts to synchronise their listening. Everyone can either enjoy one person's playlist, or they can all select tunes using the play queue or a collaborative playlist.

The connecting is done via Spotify's barcode system - which it is currently promoting in the US via bananas - making it unnecessarily clunky and annoying from the off.

Users can either scan the phone of a person nearby or (more likely in this, or any other, but particularly this situation) one person can take a screengrab of their barcode, send it to another, who can then save the image to their camera roll on their phone and then open it when they've finally worked out where the scan function in the Spotify app is. Yes, that sentence should have been shorter, but you should really blame Spotify, not me, for that. Whatever happened to links, eh? Remember links? Kids today, they don't believe links ever even existed.

Anyway, under rigorous testing, we played around with this new feature this morning. We discovered that we could indeed remotely connect to each other's Spotify accounts and jointly control what was being played on both phones. The only downside - and this happened in two separate tests with different people - was that only the person who originally shared their barcode got any sound. The other just had to just imagine how much fun it was to listen to all this great music. But so long as one person gets to have actual fun, that's probably enough.

Of course, the other big issue here is that it is available only to premium Spotify subscribers. Partly, presumably, because the aim is to make premium accounts more attractive. Adverts would probably mess up all the syncing too, I guess. But it does somewhat limit your Zoom dance parties to people who are paying for a Spotify account.

Freeloaders can't join in. People paying for accounts on other services can't join in. So, you're probably back to the initial problem of wanting to play music in a way that everyone in the Zoom call can listen to and that not being possible. Even if the only-one-person-can-actually-hear-the-music bug gets fixed.

In short, Spotify launched a thing that may or not be fun and useful.


ANDY MALT | Editor
Andy heads up the team, overseeing the CMU Daily, website and Setlist podcast, managing social channels, reporting on artist and business stories, and writing the CMU Approved column.
[email protected] (except press releases, see below)
CHRIS COOKE | Co-Founder & MD
Chris provides music business coverage, writing key business news and CMU Trends. He also leads the CMU Insights and CMU Pathways consultancy units and the CMU:DIY future talent programme, as well as heading up CMU publisher 3CM UnLimited.
[email protected] (except press releases, see below)
SAM TAYLOR | Commercial Manager
Sam oversees the commercial side of the CMU media, leading on sales and sponsorship, and also heads up business development at CMU InsightsCMU Pathways and CMU:DIY.
[email protected] or call 020 7099 9060
CARO MOSES | Co-Publisher
Caro helps oversee the CMU media as a Director of 3CM UnLimited, as well as heading up the company's other two titles ThisWeek London and ThreeWeeks Edinburgh, and supporting other parts of the business.
[email protected]
CMU helps people to navigate and understand the music business.

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