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Generative AI music creation platform, label and publisher Boomy reached a distribution partnership with ADA Worldwide, Warner Music Group’s independent distribution and label services arm. Under the deal, Boomy’s A&R team will bring top artists and exclusively curated music from the Boomy roster to ADA. Select Boomy artists will be distributed and marketed across platforms including Spotify, Apple Music and YouTube Music. Boomy artists who will benefit from the partnership include rapper-producer Jelie, German harpist Katirha, Boston-based producer Lightfoot, rapper Paperboy Prince and techno/lo-fi music project Plague of Grackles. Boomy’s AI systems allow human creators to make original music even if they lack professional tools or a formal music-making education.
AI and metaverse technology and content company Futureverse signed with CAA for representation in all areas. The companies will collaborate to open up new opportunities for talent and intellectual property across Web3, the metaverse, AI, virtual games and experiences and more. The announcement follows the unveiling of Futureverse’s JEN 1, a “high-fidelity model” for text-to-music generation and research paper that proposes a strategy to pioneer a new licensing framework compensating rights holders, producers and artists. “Futureverse’s strategic collaboration with CAA has forged a strong alignment in fostering the development of mutually beneficial business models that empower creators with groundbreaking tools and lucrative revenue opportunities. As pioneers in AI, web3 and metaverse infrastructure, driven by a deep appreciation for art and humanity, we see an incredibly bright future for the world of entertainment,” said Futureverse co-founder Shara Senderoff in a statement. Futureverse’s other co-founder is Aaron McDonald.
Through an existing joint venture, CTS Eventim and Sony Music Latin Iberia acquired Punto Ticket in Chile and Teleticket in Peru, expanding the JV’s South American ticketing business, which launched in Brazil in 2016. The acquisitions will provide ticketing systems and related services to concert promoters and venues across both countries. Corporate leadership for the acquired companies will remain intact.
Spotify partnered with mobile provider Orange Middle East & Africa, which will now offer complimentary data bonuses for its customers to access Spotify’s service. “We are aware that data costs continue to be a hindrance for people who would like to stream music, that’s why we are actively working at Spotify SSA on partnerships like this one,” said Jocelyne Muhutu-Remy, MD for Spotify in Sub-Saharan Africa, in a statement. Brelotte Ba, deputy CEO of Orange Middle East and Africa, added that the deal will “contribute to the acceleration of digital inclusion on the continent.” Orange operates in a total of 18 countries across Africa and the Middle East.
HARMAN, a Samsung Electronics subsidiary that focuses on connected technologies for automotive, consumer and enterprise markets, acquired music management, discovery and streaming platform Roon. Described in a press release as “a music player for music enthusiasts,” Roon is available on all popular operating systems and also manufactures a line of hardware server appliances called Nucleus. Roon will operate as a standalone HARMAN business with its existing team remaining in place. HARMAN plans to grow Roon’s open device ecosystem that collaborates with more than 160 other audio brands, delivering audio to more than 1,000 high-performance devices.
Universal Music Group (UMG) signed a deal with Ethiopian streaming platform Sewasew Multimedia, which will now license and market UMG’s music catalog in Ethiopia. “UMG has a long and successful presence in Africa, and given Ethiopia’s rich and vibrant music culture, we are excited to work with Sewasew Multimedia to help grow the Ethiopian music industry to its full potential,” said Ulrik Cahn, UMG executive vp of Africa, Middle East and Asia, in a statement.
Independent digital distributor IDOL signed a global distribution and label services deal with Young Art Records, the L.A.-based label belonging to producer and DJ TOKiMONSTA. Under the partnership, IDOL will handle global distribution and marketing for Young Art Records’ catalog and frontline releases. In addition to TOKiMONSTA, Young Art artists include rapper Cakes Da Killa, Canadian R&B musician Rochelle Jordan and instrumentalist-songwriter duo Daktyl & Benni Ola.
Warner Music Group (WMG) struck a partnership with Ghana-based Small World Records, the label and publisher founded by music entrepreneur and streetwear connoisseur SmallGod. Under the new agreement, Small World will collaborate with teams from WMG, ADA and Warner Chappell Music to elevate Small World’s artist and songwriter rosters worldwide and discover, nurture and elevate a new generation of African talent. SmallGod will continue leading Small World’s operations.
SiriusXM unveiled a new collaboration with Europe’s Radio Monaco to launch the SiriusXM Radio Monaco channel, which will bring artists and DJs from Monte Carlo to SiriusXM listeners in North America. According to a press release, Radio Monaco (originally launched in 2006) is the only music stream originating from Monaco. The channel will broadcast live from Jimmy’z Monte-Carlo and air DJ sets from the parties around the Monaco Grand Prix while featuring exclusive interviews and content with stars from the country’s music scene. Radio Monaco will be available to SiriusXM subscribers across North America.
Spinnin’ Records signed a new joint venture with independent dance label and publisher Kanary Records, run by brothers Alex and Christopher Van den Hoef — also known as production duo DVBBS. Artists on Kanary’s roster include Arkade, Bad Nonn and Dayfive. “We are delighted to join forces with Alex and Christopher, reigniting our relationship from over a decade ago,” said Jorn Heringa, head of A&R at Spinnin’ Records, in a statement. “Both brothers bring deep expertise and knowledge to the table and will work harder than anyone else to develop and drive KANARY to new heights with us. Welcome back to Spinnin’!”
Mozaic.io, a global payments platform that allows co-creators to automatically send and receive split payments, closed a $20 million Series A funding round from Boston-based growth equity firm Volition Capital. Mozaic.io initially focused on payouts for music distributors, artists and collaborators before expanding to serve the entire peer-to-peer creator economy, with a goal of expanding further into the gig and freelance economy. The investment brings the total raised for Mozaic.io to $27.1 million, with existing investment from Rise of the Rest, Maverick Nashville and music industry executive Joe Galante. The funds will be used for new product development and expanding Mozaic’s sales and product teams.
Audoo — a music technology company that allows artists, songwriters, PROs and CMOs to see in real-time where their music is played via the use of proprietary audio meters, enabling them to better collect on public performance royalties — partnered with Abu Dhabi-based music rights organization ESMAA. Through the collaboration, ESMAA will incorporate Audoo’s “Audio Meter” and insights platform into its operational framework, allowing more accurate and transparent data collection and payment distribution for artists and rights holders. “ESMAA is at the forefront of building a modern rights company and through implementing the best technology from Audoo, we bridge the path of identifiable potential income with a system that optimises the use of music recognition in public performance spaces,” said Spek, founder/CEO of ESMAA, in a statement.
Canadian booking agency Paquin Artists Agency (PAA), a division of Paquin Entertainment Group, formed a strategic partnership with Louis Carrière, founder/president of Quebec-based agency Preste. The partnership will deepen PAA’s footprint in Quebec as it opens a new office in Montreal. PAA will also provide key resources to Carrière and his team to export Quebecian talent.
Believe-owned metal label Nuclear Blast announced an exclusive e-commerce partnership with Impericon, a provider of metalcore merchandise and music. Under the deal, Impericon will oversee all of Nuclear Blast’s European e-commerce activities starting in the first quarter of 2024.
Billboard is bringing back its peer-voted Power Players’ Choice Award for 2024, asking members of the music industry across all sectors to honor the executive they believe had the most impact across the business in the past year. Explore Explore See latest videos, charts and news See latest videos, charts and news Voting is now […]
Billboard is bringing back its peer-voted Power Players’ Choice Award for 2024, asking members of the music industry across all sectors to honor the executive they believe had the most impact across the business in the past year. Voting is open to all Billboard Pro members, both existing and new, with one vote per member […]
Full-service music company ONErpm is filling out further with the launch of two divisions, one being a new administration system meant to simplify managing an artist’s day-to-day needs — and the other an updated distribution platform geared for budget-crunched DIYers. Explore Explore See latest videos, charts and news See latest videos, charts and news The […]
Sean ‘Diddy’ Combs has stepped down from his role as chairman for REVOLT. TMZ first broke the story, and Billboard confirms through Diddy’s reps. The news arrives in the wake of Combs’ three sexual assault lawsuits, including one made by his ex-girlfriend Cassie Ventura earlier this month.
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According to a statement made by REVOLT on Instagram Tuesday morning (Nov. 28), the Black music television company aims to continue its mission of creating “meaningful content for the culture.”
“While Mr. Combs has previously no operational or day-to-day role in the business, this decision helps ensure that REVOLT remains steadfastly focused on our mission to create meaningful content for the culture and amplify the voices of all Black people throughout this country and the African diaspora,” the statement begins. “Our focus has always been one that reflects our commitment to the collective journey of REVOLT — one that is not driven by the individual, but by the shared efforts and values of our entire team on behalf of advancing, elevating, and championing our culture and that continues.”
Co-founded in 2013, REVOVT currently houses several popular music podcasts including Drink Champs and Yung Miami’s Caresha Please. In a recent digital cover story with Billboard, Diddy spoke on the success of REVOLT.
“[My goal is to] make it not just the biggest Black-owned network but the biggest media company that I can,” he said. I’m not pigeonholing myself. Again, nobody’s going to give us power, and they’re not going to share it with us. That’s why 10 years ago, I named my network REVOLT, because we have to take our quality of life back. There’s so much value and information.”
Earlier this month, Cassie alleged that Combs abused her during their on-and-off 11-year relationship. One day after filing the lawsuit against Combs, which alleged “episodes of horrific abuse” including rape, she settled with the mercurial music star. “I have decided to resolve this matter amicably on terms that I have some level of control,” Ventura said in a statement by her attorney, Douglas Wigdor. “I want to thank my family, fans and lawyers for their unwavering support.”
Combs responded, adding, “We have decided to resolve this matter amicably. I wish Cassie and her family all the best. Love.” No terms were disclosed and the release states that “the parties will have no further statements.”
Last week, Combs was accused of sexual abuse by two more women from alleged incidents stemming from the ’90s. Both suits were filed on Thanksgiving Day, the eve of the expiration of the Adult Survivors Act, which permitted victims of sexual abuse a one-year window to file a civil action suit regardless of the statute of limitations.
Nikki Semin Han is back in business, leading TITAN CONTENT, a new U.S.-based K-pop specialist which has ambitions to disrupt the game.
Headquartered in Los Angeles, with studios there and in Seoul, TITAN is led by a leadership team that’s launched the likes of BoA, Girls’ Generation, SUPER JUNIOR, EXO, The Boyz, TWICE, ITZY and others.
Announced today (Nov. 28), TITAN’s founders and executive team includes K-pop luminaries Semin Han as chairman of the board; CEO Katie Kang; chief performance officer Lia Kim; chief visual officer Guiom Lee; and chief business officer Dom Rodriguez.
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The soon-to-be-launched venture plans to manage artists, develop new K-pop groups, and, in time, produce a raft of music festivals. TITAN will also combine “traditional K-pop training and artist development with Web3 and metaverse innovation,” reads a statement, “ushering in a new era in music and entertainment.” First signings have not yet been revealed.
“Think of TITAN like the Avengers of the K-pop community joining forces to redefine the industry,” comments Semin Han. “With a proven record of elevating global superstars, TITAN’s founders and executives have played key roles in helping shape K-pop and making it a global lifestyle with passionate fans across the world.” Together, “we’re creating a company where artists thrive, fans come first, music takes center stage, and industry disruption reigns supreme.”
K-pop is, of course, riding a global wave. Taking into consideration ticket sales, streams and online chatter, few genres have blown-up quite like it. “It’s undeniable that the genre is having a big year in music,” declares Luminate in its Mapping Out K-Pop’s Global Dominance report. Global on-demand streams (audio and video) of K-pop music topped 90.4 billion in the year to date, up 42.2% from 2022. Japan leads the way with 9.7 billion, according to the report, followed by the U.S. at 9.2 billion.
“By connecting the East and the West, TITAN plans to lead the K-pop revolution on a global scale,” adds Kang. “Not only will we utilize our vast experience and expertise to develop and create beloved K-pop artists and brands, we will also push the industry forward through savvy Web3 disruption.”
TITAN’s initial seed round was led and closed by RW3 Ventures and Raptor Group with Dreamus Company serving as a co-lead investor. Co-investors include Animoca Ventures, Sfermion, Bell Partners AB, Heros Entertainment, Infinity Ventures Crypto, Scrum Ventures, Planetarium, and Avalanche.
Have some more turkey, have some more pie — it’s time for another Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings (and all things in between) across the music industry.
Sony Music Publishing UK promoted a trio of executives in its A&R department: Felix Canetty-Clarke to vp of UK A&R strategy & international research; Sarah Gabrielli to senior director of A&R, UK & Europe; and Saul Fitton to senior director of A&R, UK, effective immediately. Cannety-Clarke joined SMP in 2018 with a focus on research and analytics, and in his new job will continue those data-driven A&R initiatives and extend his focus across operations and strategy, the company said. Gabrielli and Fitton, whose start dates at the company were 2016 and 2020, respectively, will keep on keeping on in terms of driving opportunities for the company’s writers and artists. Since joining, Gabrielli’s portfolio has included beabadoobee, Baby Queen and Jim Legacy, while Fitton’s signees include Pablo Bowman and Bastille, among others. “Sarah, Saul and Felix are the very best talents in the UK,” said David Ventura, president and co-managing director of SMP UK. “Their passion for music, their drive and their unique daily dedication for our songwriters are exemplary. Together they bring the future of our company and with Tim we have been inspired to see everyone recognising their successes and achievements.”
Joshton “Peas” Harris joined Spotify as the head of hip-hop and R&B, artist partnerships, overseeing a team handling artist and manager relationships in those key genres. Harris previously held a similar marketing role at Amazon Music, which he joined in April 2020 following several years in talent management, marketing and other creative work during stops at Cinematic Music Group, Cashmere Agency and EQT Recordings. Over in playlists land at the music streaming giant, Cecilia Winter is the new global hits editorial lead, overseeing programming, editorial strategy and content brand extensions across Spotify’s family of ‘Global Hits’ playlists, including ‘Today’s Top Hits,’ ‘Pop Rising’ and the all-powerful New Music Friday. Previously at YouTube Music, where she rose to music programming manager in her five years there, Winter now reports to J.J. Italiano, the head of global music curation and discovery.
All In the Family: Billboard parent Penske Media Corporation promoted Brooke Jaffe to senior Vice President of public affairs and strategy, effective immediately. Over the span of four years, Jaffe has held a number of roles at PMC, including contributing editor, head of public affairs and communications, and, most recently, vp of public affairs and strategy. In her elevated position, she’ll keep driving impactful communications strategies on behalf of the PMC portfolio, which also includes Variety and The Hollywood Reporter, and she’ll continue to focus on public policy and external relationships. In recent years, Jaffe added oversight of the PR team for Dick Clark Productions and is a core leader for the LA3C festival. Prior to joining PMC, Jaffe held senior roles at fashion tech startup Eight and Bloomingdale’s. Jaffe continues to be based out of LA, where she reports to PMC CEO, chairman and founder Jay Penske.
ICYMI: While the week leading up to Thanksgiving is typically a slow week for HR departments, that was not the case at ChatGPT creator OpenAI, which fired its co-founder and leader Sam Altman under undefined circumstances, then hired him back a few days later after hundreds of employees threatened to quit … In less dramatic news, former CD Baby CEO Tracy Maddux announced he has stepped down from his role as chief commercial officer at Downtown Music Holdings.
Neon Records co-founder Patrick “Smiley” Cleary stepped down as CEO of the UMG-owned dance music label in order to focus on his Peppermint Blue Publishing company. The announcement, first plucked by The Music Network, was made in a memo to staff from Universal Music Australia and New Zealand chief Sean Warner, who noted that UMA’s “long standing partnership with Smiley has been significant and fruitful.” Founded by Smiley and Carl West as a label under Warner Music, the Australian imprint later went to Universal and over the years has worked Milky Chance, Skrillex, Rudimantal and Timmy Trumpet. Neon’s current roster includes Young Franco, Chloe Wilson and Nia Archives, among others. In his memo, Warner said Neon “has become an iconic label in ANZ thanks to [Smiley’s] vision, creativity, and passion, and we will take great pride in continuing to expand and enhance the Neon legacy, that we have all built together.”
Warner Records promoted Atticus George Carroll to vp of business and legal affairs, reporting to head of b&la Julian Petty out of Los Angeles. The Austin native joined WMG in June 2019 as director of business & legal affairs, and got her start in music as an artist before pivoting to practicing law on the business side of things. The move was first reported by Hits.
Nashville-based TV production company C.A.M.P. 615 added Shanna Strassberg as vp of development and strategy. Strassberg arrives from CMT, where she was vp of music and talent. Formed by producer/director Robert Deaton alongside Red Light Management’s Mary Hilliard Harrington and Coran Capshaw, C.A.M.P. recently scored a multi-year deal with CBS to produce its New Year’s Eve Live: Nashville’s Big Bash, which this year will feature Lynyrd Skynyrd, Thomas Rhett and Lainey Wilson. C.A.M.P. partner Mary Hilliard Harrington said Strassberg’s “relationships run deep and her instincts are always dead on. We just have an incredible level of trust with her, and I’m so happy she wasn’t scared to jump into the unknown with us as we build out C.A.M.P.” She can be reached at shannastrassberg@camp615.com.
Last Week’s Turntable: There Was a Minor Adjustment at the Emmys
SYDNEY, Australia — After posting another year of growth, and record revenue and distributions, APRA AMCOS is doubling-down on its call for a tax-offset to kick-start live music.
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The PRO last month posted “very strong” financials for the full-year 2023, with record gross revenue of A$690.5 million ($453 million), up 12% from the 2022 result, and net distributable revenue paid to songwriter and publisher members, affiliates and rightsholders up 11.4% year-on-year to A$595.2 million ($390 million), also a new benchmark — gains that are “indicative of a post-pandemic recovery.”
Those healthy results came with a gut-punch.
Since the start of the pandemic in March 2020, the organization found that 1,300-plus live music venues and stages across Australia were lost, or roughly one-third fewer licensed premises where artists can perform medium to smaller gigs.
At the presentation of those annual results at the APRA AMCOS HQ in Sydney, the organization’s CEO Dean Ormston urged the federal government to commit to a live music venue tax offset to act “as a catalyst in jump-starting live music nationally.”
This week, Ormston and APRA AMCOS reiterated those calls.
“For the current wave and the next generation of music creators to develop their skills and become export-ready, we need to provide them with the resources at home and build a sustainable live music ecosystem,” says Ormston.
A live music venue tax offset, he continued, would revitalize the country’s network of small live music venues.
Meanwhile, the music rights management body has confirmed the make-up of its board, following held two annual general meetings held Tuesday (No. 21) in Sydney.On the APRA board, writers Mark Callaghan and Jonathan Zwartz and publishers Jaime Gough (Concord Music Publishing ANZ) and Matthew Capper (Warner Chappell Music Australia) retained their positions. Jenny Morris and Damian Trotter (Sony Music Publishing) were named as chair and deputy chair of the APRA board, respectively.On the AMCOS board, directors Trotter and Heath Johns (BMG) retained their positions. Karen Hamilton (120 Publishing) is a new director appointment to the AMCOS board, while Philip Burn, chairman and CEO of Hal Leonard Australia, stepped down following ten years as a director, and was thanked for his service and expertise.
APRA and AMCOS board directors are elected by their respective memberships through a secure ballot. The process and results of the elections are audited and verified by APRA AMCOS’ independent auditors, KPMG.
Those elections were held in light of the society’s “Year In Review,” which reported a “dramatic” 400% year-on-year gain in license fees for concerts and festivals to A$31.9 million ($20.9 million), an all-time high, while international income from affiliate societies spiked 17.7% to A$70 million ($45 million), a new record.
Despite inflation and the rising cost of living, Aussie and Kiwi music fans flocked to shows. Notable tours included internationals Ed Sheeran, Elton John and Harry Styles, notes APRA AMCOS, plus Grammy-winning Sydney-EDM act RÜFÜS DU SOL, Crowded House, award-winning NZ acts L.A.B., SIX60 and more.
APRA AMCOS represents over 119,000 songwriter, composer and music publisher members. Click here for its “Year In Review.”
Phil Quartararo, the former EMI, Virgin and Warner Bros. record mogul who helped break Paula Abdul, the Spice Girls, Linkin Park and numerous other pop megastars, died Wednesday morning in Los Angeles of cancer. He was 67.
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“I loved helping an artist’s dream come true,” Quartararo told an interviewer in 2021. “I cannot press upon you the satisfaction of doing that.”
Known as “Phil Q,” the gregarious, Brooklyn, N.Y.-born Quartararo was a ubiquitous figure in the record industry, helping to break U2 on pop radio in the mid-’80s as senior vp of promotion at Island Records, engineering the Spice Girls’ marketing plan in the ’90s as CEO/president of Virgin Records America, and working over the years with Madonna, Coldplay, The Smashing Pumpkins, Faith Hill and Green Day. “Phil believed in me like no other,” Paula Abdul said in a statement. “His ceaseless support for me during my time at Virgin was unparalleled. I will miss him.”
In the early 2000s, when Napster, MP3s and digital piracy threatened to destroy the business, Quartararo was one of the executives in Steve Jobs’ office when the late Apple CEO promised to shift the business from $10 CDs to 99-cent downloads. “At the end of the day, 99 cents for a track is better than nothing for a track,” Quartararo would say.
Virgin Records’ founder, Richard Branson, recruited Quartararo to help launch his American label in 1986, and over the years Quartararo rose to president and CEO. In 1997, according to The New York Times, Quartararo helped “turn Virgin into EMI’s crown jewel,” generating most of the parent label’s $5.9 billion in yearly sales.
Quartararo left Virgin that year to become president of Warner Bros. Records, where he worked with Madonna, Linkin Park, Josh Groban, Cher and Wilco, among others. In 2005, he made his way back to EMI, Virgin’s owner, as an executive, helping to shift the label’s focus from physical sales and distribution to marketing and launching Coldplay, Norah Jones, Keith Urban and others.
After leaving EMI in 2005, Quartararo became an entrepreneur and consultant, working with music-distribution startups, streaming services and talent managers and managed acts such as Japanese composer Yoshiki and metal band X Japan. He also ran Janet Jackson’s Rhythm Nation Records from 2016-2019. “Phil approached everything with a kind heart and a light spirit and sense of humor,” says Taylor Jones, a co-owner of music-focused multimedia company The Hello Group, where Quartararo was president and chairman. “He was incredibly stress-resistant. His values have been instilled in the very core and ethos of our company.”
Adds Evan Lamberg, president of Universal Music Publishing North America: “Phil Q was arguably the ‘’Mayor of Goodwill’ in our industry for decades. There is no one that he touched that was not better for having known him.”
In 2013, Quartararo told Billboard he didn’t miss major labels, but “I miss dealing with the artists. I miss sharing with young people, teaching them the music business. That’s the part I loved the most. I don’t miss the big company, per se. Because the big company is cumbersome and unfortunately can’t move as quickly as the consumer or artists need to move. It’s not as nimble as it used to be.”
The digital age has democratized both the production and the distribution of music, but getting paid for it, especially on the songwriting side, is still confusing. Some of the information gets complicated – neighboring rights don’t actually involve the rights of neighbors, for example – and much of it is biased.
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Now the Music Rights Awareness Foundation, a Sweden-based nonprofit founded by ABBA songwriter Björn Ulvaeus, producer-songwriter Max Martin and songwriter Niclas Molinder, has teamed up with WIPO – the World Intellectual Property Organization, which operates as part of the United Nations – have teamed up to create CLIP (“Creators Learn Intellectual Property”) a website that will educate songwriters.
“I know firsthand how important it is for creators to know and manage their IP rights,” Ulvaeus said in the announcement. “Today, it is an essential foundation for a successful career in the music industry.”
Music Rights Awareness launched years ago, with the mission to empower songwriters with knowledge about the business. But CLIP, which offers an array of information and resources, took some time. “We started this work four years ago but the actual platform took a bit over a year,” Molinder told Billboard. “The audience is music creators around the world, but the plan is to grow it to creators in other areas.”
Billed as offering “everything you need to know about your rights as a creator” and introduced by Ulvaeus in a video, the site offers explanations of rights that are accessible as well as smart. The resources on songwriting, for example, include information about composers, topliners, arrangers, as well as explanations of their rights and how they interact.
The site is in English, but there are also plans to translate it into the five other official UN languages – Arabic, Chinese, French, Russian and Spanish.
WIPO plays a largely unseen but important role in regulating patents, trademarks and copyrights – although mostly as a place where treaties can be negotiated, rather than as a top-down lawmaker. It often plays a role in explaining intellectual property but rarely in such an accessible way.
“Creators draw on their talent and artistic vision to give us music, art, song and dance,” said WIPO director general Daren Tang in the announcement. “We must do what we can to ensure they are recognized and fairly rewarded, so that they can thrive in their work and contributions to society.”
Ulvaeus, Martin and Molinder are also behind the app Sessions Studio, free software that allows music creators to assign and track songwriting credits to make sure they get paid. But CLIP and the Music Rights Awareness Foundation operate separately.