Back in April, PRS for Music announced it was conducting a review of the Popular Music Concerts Tariff (Tariff LP). The original closing date for responses was June 8th but this was extended to allow the Concert Promoters Association to conduct further research. The deadline has now been extended to 30 September 2015.
At present concert promoters must pay a fee of 3% of gross receipts to PRS which is then distributed to songwriters and publishers of works performed at the concert. Historically this tariff has been a contentious issue for stakeholders, particularly promoters. Indeed, the promoters’ trade organisation, the aforementioned Concert Promoters Association, was founded in 1986 to oppose a proposed tariff increase from 2% to 6%. In 1988 the Copyright Tribunal set the existing rate at 3%. A review was conducted as recently as 2010 where the PRS decided no change was necessary.
It will be interesting to see how (if at all!) the debate has moved on since 2010. In the meantime PopRights’ Ken Barr wrote blog post about the Review for Live Music Exchange which can be found here.
The 18th Biennial IASPM Conference takes place in Campinas, Brazil June 29th-July 3rd. PopRights will be there! Maybe you will be too?
Check it out…
…wasn’t enough of a curveball. Now there’s Cassette Store Day! Surely not!?
Interesting research by Spotify’s Chief Economist, Will Page.
Calvin Harris wins Ivor Novello Award but is he really a songwriter?
Wednesday 13th was Day 1 of SxSW 2013 for PopRights.
In addition to seeing Jake Bugg at the Austin Convention Centre and sets by Holy Esque and Paws at the Scottish Showcase, there was the more serious business of attending some of the many music industry panels at SxSW. Among these were panels on Music Subscription and Artist Revenue, When Start-Ups Grow Up and Stairway to Heaven and Cloud Music.
Perhaps, the most interesting of these was C3S: Putting the Revenue in Creative Commons. Starting in Germany, Wolfgang Senges proposed the foundation of a collecting society that solely administered Creative Commons rights: C3S: Cultural Commons Collecting Society. The establishment of such a society, according to Senges, is necessary for a number of reasons: to break the monopoly or quasi-monopoly of collecting societies such as GEMA, to ensure exact accounting and flexible licensing for members and to add a commercial dimension to Creative Commons that constructs the missing link between culture and business.
This raises a multitude of questions regarding the practicalities and legalities of establishing such a society that could not be answered in the panel discussion (Wolfgang was speaking via Skype from Germany). As Johnny Nash said, “there are more questions than answers“, nonetheless this is an intriguing idea, one PopRights will investigate further.