At Eurosonic 2018, our members once again touched upon the wide range of rates for public performance licensing of authors’ rights, as payable by promoters.
With ranges in rates from around 1% in the US towards 25% in some central-eastern European markets, the question, ‘Which of these rates would artists (authors and performers) prefer?’, is a tricky one.
The artist has four sectors of operations: live, publishing, brand and recording, and in each of these areas music rights and supply chains are complex. Consumers, however, have one demand: access to the artist’s activities. When each sector is chasing the same consumer, running unrelated supply chains is not smart.
When building their businesses, artists are increasingly operating independently of traditional service providers, or with simplified B2B relationships. Artists’ SMEs (small and medium-sized enterprises) need to be able to operate efficiently, without complex barriers. If the music industry is “all about the artist” we should review how the supply chain works.
IMMF is debating what simplifying the supply chain means for the live sector, not only in terms of efficiency (authors’ rights) but in terms of investment (the impact on labels of streaming/recording live events) and of opportunity (identifying artists and rightsholders using metadata and metrics in context-based marketing).