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Spotify has launched a new AI playlist feature for premium users in the United Kingdom and Australia, the company revealed in a blog post on Sunday (April 7). The new feature, which is still in beta, allows Spotify users in those markets to turn any concept into a playlist by using prompts like “an indie […]
When Ariana Grande released her latest album eternal sunshine, one of its most beloved tracks, “the boy is mine,” became an instant dance trend on TikTok. At any other moment, a viral trend around a major pop star’s new song would seem obvious, even normal. But amidst the licensing feud between TikTok and Grande’s record label Universal Music Group, it’s a surprise to find the song on TikTok at all.
Grande’s music is not alone in sticking around on the app far past the expiration of UMG’s last license, which lapsed at the end of January. Thanks to clever tactics by fans, artists and their teams, some notable UMG-affiliated songs have been able to effectively skirt the company’s TikTok boycott. While it helps promote these songs individually, trying to get around the ban also has a knock-on effect for songwriters — and supplies UMG hits to TikTok without the app paying a cent.
An Olivia Rodrigo fan under the username LouLiv recently uploaded Rodrigo’s new single “so american” to TikTok as an “original sound,” and Rodrigo herself used the sound in a few recent TikToks, helping boost the song’s visibility. Grande’s fans have also been creating various versions of “the boy is mine” on TikTok, which has helped spread the song on the app, as well as other tracks from eternal sunshine.
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These original sounds often manipulate the official recording, changing the speed, pitch and/or title of the song to help them slip past TikTok’s detection technology, which is used to automatically catch songs, like UMG’s, that are not licensed to be on the app. A source close to the matter says that TikTok’s detection technology combs for metadata provided by UMG and UMPG and then removes the content. But the remaining original sounds that don’t get automatically wiped from TikTok are so widespread that it can sometimes feel like UMG never left the app at all.
The songs are not hard to find, either. The most popular sound for Rodrigo’s “so american,” for example, is straightforwardly titled “so american” and already has 33,400 videos created with the song to date. The most-used original audio for “the boy is mine” was recently removed after weeks on TikTok, a sign that UMG is issuing takedowns for some original sounds using their catalog. But multiple other original audios for the song remain, including “the boy is mine” by star and “the boy is mine sped up” by satvrn, amounting to over 100,000 videos made to original sounds of the song on TikTok and counting.
For songwriters, there are negative consequences. In two separate text and email chains reviewed by Billboard, non-UMG recording artists that have worked on recent or upcoming releases with UMPG songwriters have asked the track’s songwriters to withhold information about who wrote the song at the time of a track’s release to try to skirt the UMG TikTok ban — and the songwriters have agreed.
Though the two sources who provided correspondence to Billboard wished to remain anonymous to protect their clients, Lucas Keller, founder/CEO of Milk & Honey and manager to a number of songwriters and producers, confirmed that this is happening to songwriters. “Sometimes there’s a song coming out and there’s four writers, and one of them is UMPG, and someone steps forward and says, ‘Hey, can you not get in the way of this one? Can we register this in like three months?’” Keller says. “Then the song can be used on TikTok. It’s an interesting dark corner of the business that’s emerged.”
It is common for tracks to be released without submitting the proper publishing “splits,” meaning the names of the writers and what the percentage of ownership each holds, given these negotiations can be lengthy and sometimes contentious. But in the cases Keller and the other two sources discussed with Billboard, the songs’ publishing splits were ready to go and could have been submitted on time. The only reason they weren’t was to allow the artist to promote it on TikTok.
Michelle Lewis, co-founder and CEO of Songwriters of North America (SONA), says these asks by artists put songwriters in a bad position. “Songwriters are the least equipped to negotiate, the lowest on the food chain in these discussions,” Lewis says. She worries songwriters don’t feel like they have the ability to push back on these asks if they want to. Meanwhile, leaving out this key information could threaten the songwriters’ ability to get paid royalties from streaming services on time if the parties hold out longer than a few months.
Lewis, Keller and three artist managers who wished to remain anonymous, all tell Billboard that some artists are also “thinking twice” about inviting UMPG writers to sessions. “I have also heard about Universal writers not being invited to camps,” Lewis says; while it’s unclear how often this is occurring, Keller says it “is absolutely happening.” Adds Lewis, “It’s so uncool. If you’re not including Universal writers, you’re basically crossing the picket line. You’re weakening [UMG’s position].”
A UMPG spokesperson declined to comment on its songwriters facing these specific effects from the TikTok feud, but pointed to its letter to songwriters on Feb. 29, which read in part, “We understand the disruption is difficult for some of you and your careers, and we are sensitive to how this may affect you.”
Some official recordings with UMPG writers, like “Texas Hold Em” by Beyonce, who is affiliated with Sony’s Columbia Records, still remain on TikTok for unknown reasons. That song, which is currently ranked at No. 5 on Billboard’s TikTok Viral 50, was co-written by UMPG’s Raphael Saadiq, as were other songs on Beyonce’s new album Cowboy Carter that remain on the platform.
“Texas Hold Em” and some other tracks by Beyonce have a large number of songwriters — which is one major reason why publishing information is often submitted late — so it is possible that TikTok hasn’t removed the track because it doesn’t have verification that it is in any way affiliated with UMPG. Strangely, however, this track was taken down from TikTok briefly and then reappeared days later. When asked why “Texas Hold Em” was available on TikTok despite its clear ties to UMPG, neither TikTok nor UMPG responded to Billboard’s requests for comment.
Regardless of how these songs avoided an automatic removal from TikTok, UMG could have requested that these popular tracks and original sounds be taken down by now. Rights holders are able to manually request takedowns of content on TikTok that they believe infringe on their copyrights, like the original sounds for Grande and Rodrigo and songs like “Texas Hold Em,” and TikTok is required to remove them to remain in compliance with the Digital Millennium Copyright Act.
But tracking down all infringing content and requesting takedowns, especially for a catalog of millions like UMG’s, is known to be a tedious task. As UMG put it in its original letter to artists and songwriters, it is “monumentally cumbersome” and “the digital equivalent of ‘Whack-A-Mole.’” Michael Nash, the company’s executive vp of digital strategy, also added on an earnings call on Feb. 28 that the company had sent requests to “effectuate muting of millions of videos every day.” However, it is possible to get infringing tracks removed if that is the rights holders’ wish.
“This is not a united front,” Lewis says. “It feels indicative of our industry overall. We can never get along, and the individual creator is the one who gets hurt… It’s totally not fair for songwriters, but this is all beneath the top line concern, which is that TikTok completely underpays, undervalues songwriters. That’s number one. They’re the ones who started this.”
Billboard is bringing back its peer-voted Country Power Players’ Choice Award for 2024, asking music industry members from all sectors to honor the executive they believe had the most impact across the Country music genre in the past year. Explore Explore See latest videos, charts and news See latest videos, charts and news Voting is […]
Billboard is bringing back its peer-voted Country Power Players’ Choice Award for 2024, asking music industry members from all sectors to honor the executive they believe had the most impact across the Country music genre in the past year. Voting is open to all Billboard Pro members, both existing and new, with one vote per […]
Every passing day, a new statistic emerges that would make any aspiring artist, producer, or songwriter feel foolish for trying to fund their dreams.
Over 100,000 songs get ingested to Spotify daily, but the vast majority of them fail to surpass the 1,000-play mark. Sony Music Entertainment, Warner Music Group, and Universal Music Group reported record profits in 2023, but those numbers are largely driven by a small number of star artists. A 2017 study showed that out of 7,000 bands tracked, only 21 managed to headline a venue with a capacity exceeding 3,000. Limited opportunity and long odds face artists who don’t have significant industry backing.
Content saturation makes it harder to stand out, inspiring strategic conservatism from major labels, who, driven by data, fear financial risk and tend to invest in artists who demonstrate substantial market appeal.
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What are musicians — and, frankly, writers, visual artists, filmmakers, or any creators — in need of resources to do when corporations appear more risk-averse than ever?
Why do we need a grant system for individual artists?
While art is often considered a luxury rather than a public good, it has been shown to provide both cultural enrichment and economic stimulus.
In 2023, Americans for the Arts found that the nonprofit arts and culture industry provided 2.6 million jobs, generated $29.1 billion in tax revenue, and provided $101 billion in personal income to U.S. residents. These numbers include the individuals who benefit from public arts funding to become working artists, who tour, show their work at museums, and fill movie theaters.
America’s nonprofit and for-profit arts sectors work together to promote cultural growth as much as they stimulate economic activity locally and nationally.
Public funding for the arts has remained relatively steady in absolute terms. However, inflation-adjusted spending on the arts by local governments has declined consistently throughout the 2000s. Local arts agencies now receive 27% less in funding than they did in 2001.
Other countries have shown a better system can exist.
For 37 years, Canada’s FACTOR grant program has supported Canadian recording artists in meaningful ways.
FACTOR covers costs that traditionally require the debt financing of a label deal: recording, music videos, and tour funding chief among them.
Notable FACTOR recipients launched into successful careers include Jessie Reyez, Grimes, Charlotte Cardin, BADBADNOTGOOD and TOBi. Drake’s vaunted company October’s Very Own has also received a variety of grants from Canadian governmental sources — including funding for the 2014 OVO Fest.
In Sweden, robust arts education in public schools combined with an internationally-minded grant system contribute to the small nation’s outsized influence on popular music abroad, particularly in the United States where Max Martin’s Swedish pop sensibilities have dominated Billboard charts since Bill Clinton was in office.
While in America, artists can gain access to grants through institutions like the Guggenheim Memorial Foundation or the Henry Luce Foundation, or via state institutions, there is no unified federal mechanism for arts funding akin to FACTOR or the Swedish Arts Grant Committee. The National Endowment for the Arts has an impressive grantmaking operation but does not give direct grants to individual artists.
Introducing the CREATE Art Act.
We need a better system.
In 2024, we are working to bring the CREATE Art Act to the American public. Created by Congressman Maxwell Frost, a drummer and musician himself and the first Gen-Z person ever elected to the United States Congress, the CREATE Art Act proposes a novel grant system for individual artists of all disciplines.
CREATE grants go beyond international models in the way they target emerging artists, those creators who may not yet have the good fortune of making a living off of their art or wish to avoid potentially injurious record and publishing deals. Recipients must show net earnings of less than $50,000 in the previous five years and not more than $400,000 in the previous 20 years from their art. The art produced must be relevant to the community and accessible to the public. The grants include:
Progress Grant – Up to $2,000 to support a year of artist activities.
Project Grant – Up to $100,000 per project that can be used over two years.
Live Performance Grant – Up to $35,000 for live performances.
Development Fund – Up to $10,000 to pay the living and working expenses of artists
while they research, write, or cultivate stories or projects.
The purpose of the program is twofold.
First, and simply, more artists with funding means more art. The greater the creative output of our nation, the greater the diversity of voices with the potential to gain an audience, shift perspectives, inspire future generations, and tell new American stories.
Second, more artists creating means more economic activity in a sector experiencing an algae bloom of creators and consumers.
The current media landscape cuts a more jagged figure than ever. No monoliths. No starmakers. No obvious paths to success.
In a time of such noise and fragmentation, artists find it as hard as ever to fund their dreams and more difficult than before to cut through the clutter.
The CREATE Art Act would plant a foot on the right path forward, opening up possibilities for generations of American artists to come.
The first member of Generation Z to be elected to Congress, Maxwell Alejandro Frost is proud to represent the people of Central Florida (FL-10) in the United States House of Representatives. As a young Member of Congress and Afro-Latino, Congressman Frost brings a fresh, progressive perspective to an institution formerly out of reach for young, working Black and Latino Americans.
Jon Tanners is a manager, writer, and entrepreneur based in Los Angeles. He manages Grammy-winning, multi-platinum producers Dahi, Michael Uzowuru, and Take A Daytrip and is also co-founder of CreateSafe.
Warner Music Group announced over the weekend that it has called off plans to submit a binding offer to acquire French music company Believe. The label did not elaborate on its decision, only that it was made “after careful consideration.” Believe followed up in a statement, saying it will “review the situation with all interested […]
Morgan Wallen was arrested and jailed on Sunday night (April 7) in Nashville after the chart-topping country singer allegedly hurled a chair off the six-story roof of a popular bar on the city’s bustling Broadway street. On Monday morning (April 8), Billboard received a statement from Wallen’s attorney, Worrick Robinson of Worrick Robinson Law, confirming […]
GEMA’s revenue rose 8.4% in 2023, to €1.28 billion ($1.4 billion), the German collective management society (CMO) announced April 8, and for the second year in a row it will distribute more than a billion Euros to its members – €1.08 billion ($1.17 billion) to be exact. That income was offset by an expense ratio […]
Shares of Spotify jumped 17.6% to $310.31 this week on a report that the streaming giant will raise prices again in select markets as well as news that it named a new CFO, Christian Luiga, a former CFO and deputy CEO at European defense and security company Saab AB.
Spotify’s newfound willingness to both raise prices and control costs has given new life to its stock price after an expensive entry into podcasting caused a downturn in 2022. Through Friday (April 5), shares of Spotify have increased 65.2% year to date and 134.2% over the past 12 months. Not even Believe, up 57.1% in 2024 thanks to competing interests to acquire the company, has matched Spotify’s momentum this year. Sphere Entertainment has also enjoyed a boost on Wall Street since U2’s inaugural residency at the $2.3-billion Las Vegas venue, but its 37.7% gain in 2024 also lags behind Spotify.
For more than a decade, Spotify kept its subscription prices low and emphasized subscriber growth over profits. The market’s mood has shifted in recent years, though. Once satisfied with growth in user numbers, investors now want high-flying streaming companies to be profitable, too. Since Spotify announced a price increase on July 24, 2023, the share price has increased 89.5% and raised the company’s market capitalization by roughly $29 billion to $61.5 billion. The share price has gone up 71.7% since Spotify announced it would cut 16% of its staff on Dec. 4, 2023.
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This week, investors reacted to a Bloomberg report that Spotify is raising subscription prices in select markets and will pass another rate hike in the United States later this year. Following the news, Spotify gained 8.2% to $291.77 on Wednesday (April 3). Labels appeared to benefit, too: Universal Music Group rose 5.5% and Warner Music Group gained 5.8% on Wednesday following news of the price increase.
Rather than shy away from price increases in successive years, Spotify could have a unique ability to withstand higher prices compared to its peers. Morgan Stanley analysts wrote in an investor note on Thursday (April 4) that music is “broadly under-monetized” and the quality of Spotify’s product gives it “unique pricing power.” Guggenheim analysts wrote in a report on Wednesday that they believe the price increase could mean a “9% revenue impact” in the affected markets.
What’s more, the higher prices could help Spotify by improving its audiobook business. Spotify now gives subscribers in the United States and some other markets 15 hours of free audiobook streaming per month; users can also purchase additional listening time and buy audiobooks to keep. A recent Morgan Stanley survey revealed Spotify was used by 38% of audiobook listeners, second only to veteran audiobook platform Audible despite Spotify having launched audiobooks only a few months before the survey. “Audiobooks appear to be perhaps a larger revenue opportunity than podcasting based on this survey works and long-standing consumer price points for books,” Morgan Stanley analysts wrote.
The Billboard Global Music Index dropped 0.2% to 1,748.38 as nine of the index’s 20 stocks were winners, 10 were losers and one was unchanged. No company other than Spotify posted a double-digit increase, however, and three companies — iHeartMedia, Cumulus Media and Anghami — had double-digit declines.
Stocks were mixed globally this week. In the United States, the Nasdaq composite dropped 0.8% to 16,248.52 and the S&P 500 fell 1.0% to 5,204.34. The United Kingdom’s FTSE 100 fell 0.5% to 7,911.16. China’s Shanghai Composite Index rose 0.9% to 3,069.30. South Korea’s KOSPI composite index lost 1.2% to 2,714.21.
Music streaming company Anghami (NASDAQ: ANGH) was the biggest loser of the week after dropping 41.1% — it lost 44.5% on Wednesday alone — after OSN Group, a premium entertainment provider for the Middle East-North Africa region, acquired a 55.45% stake. The deal, first announced in November 2023, combines the Abu Dhabi on-demand music streaming service with a paid, on-demand video streaming platform that carries both Arabic and Turkish titles and content from Western brands such as HBO, Universal Pictures and Paramount.
On Wednesday (April 10), Music Forward Foundation’s All Access Fest is expecting roughly 1,200 students and young adults to enter the Hollywood Palladium in Los Angeles to learn all about the music industry.
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Launched in 2018, the music and live entertainment convention gives 16–24-year-olds the opportunity to meet professionals who work in the business and provides resources for those who want to pursue a career in it.
This year’s day-long event will feature panels, networking sessions, roundtables and exhibit booths with more than 100 industry professionals from entertainment companies including BMG, Snap Inc., Downtown Music, Live Nation, Concord, Ticketmaster, EMPIRE and many more.
Exhibitors for the 2024 edition will include AEG, Girls Make Beats, Universal Music Group, Los Angeles Film School, Lux Lighting, Inner City Arts and Belmont University. In addition to high school students, hundreds of post-secondary students from colleges including Cal State Fullerton, Cal State Northridge, Carnegie Mellon University, Loyola Marymount University, NYU, Pepperdine University, UCLA, UC Irvine, UNLV, USC, Santa Monica College, and more are also expected to attend.
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The wide breadth of industry partners and experts at All Access is designed to give students — many of whom are coming from the Los Angeles, Compton, Inglewood and Centinela school districts — and other young people a greater understanding of all the possible employment opportunities in the music business, from artist to record label executive to lighting tech to costume handler.
“A lot of the kids, particularly in the demographics that we’re reaching, don’t know about these opportunities,” says Nurit Smith, executive director at Music Forward Foundation. “They don’t know the ecosystem. That’s why when we talk about live entertainment, we’re looking at touring from all different angles.”
Nurit Smith
Music Forward Foundation
Live entertainment is just one of many areas of expertise that All Access covers. The event can help give attendees an understanding of what it takes to be a touring musician or someone who makes those touring dreams a reality in a number of different capacities. To that end, promoters Insomniac Events and C3 Presents — which put on festivals like EDC and Austin City Limits, respectively — will have activations at the event, helping showcase the path to getting involved in that aspect of the industry.
After several years of virtual or hybrid events, Music Forward Foundation — a national non-profit in the Live Nation family — returned last year to a fully in-person convention, which Smith says made a huge impact coming out of the pandemic. The young people were a lot more eager for interpersonal connections rather than panels, so this year, the format “is being flipped on its head,” he explains.
“We’re gamifying this whole thing” with a scavenger hunt, Smith says. During the hunt, participants can have their resumes reviewed and will also be given the opportunity to meet three new people, have a new headshot taken and engage in additional activities that will help them experience different facets of the music industry and where their interests might align with a future career. “We really want to help them navigate this exciting and dynamic space that we’re creating and be very active in their learning,” Smith adds.
Additional happenings at the convention include an artist lounge for open mic sessions, artist wellness activities, an appearance from artist Blu DeTiger, A&R listening sessions and direct access to industry mentors.
While All Access Fest is only in its sixth year, Music Forward Foundation has been helping young people for more than three decades. The organization was established in 1993 as the International House of Blues Foundation in association with the famed House of Blues franchise. After House of Blues was acquired by Live Nation in 2006, the foundation became Music Forward as it expanded its reach and partnered with music entities far beyond the scope of its parent company. In its more than 30 years of work, the foundation has invested more than $42 million back into the music community and placed hundreds of young adults in paid positions.
While those numbers speak to the foundation’s ongoing efforts, Smith insists that All Access’ success is, in other ways, incalculable. “The success of supporting this next generation’s pathway will be the connective tissue in the partnerships that we all build together,” she says.
Registration for All Access Fest is free and open to young adults, regardless of school enrollment. In September, Music Forward will also host a virtual All Access Fest to reach more people globally.