Alright, everybody, we're about to dive into the wacky world of music streaming payouts! You know, that mystical land where artists get paid in fractions of a cent for making us jam and where Drake is king.
The recent Universal Music Group-brokered deal with the French music streaming service, Deezer, has been the subject of much debate. Martin Mills of Beggars Group, Darius Van Arman of Secretly Distribution, Stephan Bourdoiseau of Wagram Stories, and Emmanuel de Buretel of Because Music joined forces in a post in Music Ally that confronts the pros and cons of the user-centric versus pro-rata streaming models.
The music streaming industry has witnessed remarkable growth over the past decade, with streaming services becoming the primary mode of music consumption for millions worldwide. However, with rapid expansion come concerns of potential market saturation and challenges related to subscription models.
The 41st Canadian Music Week (CMW) kicked off at the Westin Harbour Castle in Toronto last week, with a jam-packed schedule of events and performances. The evenings were filled with some of the brightest new and established Canadian artists, including Charlotte Cardin, Tumble, Fuego, Grace May, Virginia To Vegas, and Badflower. The days were filled with a series of expert panels covering topics from sync licensing to Afrobeats to new release marketing strategies.
In the battle against deepfake songs, Deezer, the renowned French music streaming service, has pioneered a cutting-edge technology designed to identify and potentially remove cloned tracks featuring the voices of pop stars.
So, we last examined Lucian’s statements around lower quality functional content and his accusations that black hat players are gaming the royalty system and...
