PRS for Music to talk digital at The Great Escape, 2015
PRS for Music is set to discuss all things digital at TGE festival strand Music Licensing: Explained at Last!
PRS for Music is set to tackle one of this year’s biggest industry topics tomorrow, Thursday 14 May, discussing all things digital at The Great Escape strand, Music Licensing: Explained at Last!
In conjunction with PPL and CMU, the strand is aimed at debunking the myths surrounding copyright, licensing and royalties, and will feature leading experts from BASCA, IFPI, CISAC, Clintons, Believe Digital and more.
PRS for Music's Head of Online, Ben McEwen will join Eric Mackay, (Warner/Chappell), Lee Morrison (Believe Digital) and Tom Frederickse, (Clintons) to explain how streaming services are licensed, while Paul Dilorito, PRS for Music Director of Operations will debate the data challenges across the digital sector alongside Jane Dyball (MCPS/IMPEL) and Mark Douglas (PPL).
We are experiencing vast changes in the music industry, with the increasing shift to online and the growing importance of music streaming. With this, it is vital that our members have a strong understanding of this space and how we license digital music services. As music continues to shape key online business models it’s imperative that songwriters, composers and publishers are recognised and compensated properly for their works. I am excited to be representing PRS for Music at The Great Escape this year to help try to simplify an often complex but vital part of the music industry.
PRS for Music’s education and outreach manager Andy Ellis will be on hand to chat to members and emerging songwriters throughout the day. Andy also moderates his own panel on DIY music careers on Saturday, 16 May.
The festival runs from 14-16 May in Brighton with the final day providing a full programme for aspiring artists and songwriters, and young people interesting in working in music.
MUSIC LICENSING: EXPLAINED AT LAST – FULL PROGRAMME
HOW MUSIC RIGHTS WORK
A beginners guide to music copyright – basically everything you need to know in 45 minutes! Starting with the basics, CMU Business Editor Chris Cooke will explain how music rights fit together, how music licensing works (or doesn’t, as the case may be), and how the cash moves its way through the system.
WHERE’S THE MONEY?
Find out how music rights are making money in 2015 as we process the latest facts and figures from across the world regarding recorded music, neighbouring rights and music publishing.
Alex Jacob from IFPI will guide us through the label group’s global record industry stats. Camilla Waite from PPL will explore the growth of neighbouring rights income and the increased importance of SoundExchange in the US. Chris Carey from Media Insight Consulting will shed light on CISAC’s data on music publishing worldwide.
HOW STREAMING SERVICES ARE LICENSED PART 1
Whether personalised radio or fully on-demand, freemium or premium, audio or video, recording rights or publishing rights, CMU’s Chris Cooke provides a concise overview of how digital services are licensed.
HOW STREAMING SERVICES ARE LICENSED PART 2
Digging deeper into digital licensing, our panel of experts explain how each part of the digital licensing matrix works, and give some background into how the current systems came into being. Plus how do labels, publishers, artists and songwriters get their money?
Including insights from:
Ben McEwen Head Of Online at PRS for Music
Eric Mackay Head Of Digital For Europe at Warner/Chappell
Lee Morrison General Manager UK at Believe Digital
Tom Frederickse Partner at Clintons
THE DIGITAL PIE DEBATE
The Great Escape puts the spotlight on one of the biggest music industry debates of the moment: the division of streaming revenues between each of the stakeholders in music. How are the monies divided between labels, publishers, artists and songwriters, and is the current system fair and sustainable?
Amongst those taking part in the debate…
Amanda Harcourt IP Consultant
Andy Edwards Board Director at Music Managers Forum
Horace Trubridge Assistant General Secretary at Musicians’ Union
Jane Dyball CEO at MCPS/IMPEL
Rob Collins Label Director at Cooking Vinyl
Sarah Osborn CEO at the Music Publishers’ Association
Vick Bain CEO of the British Academy Of Songwriters, Composers & Authors
THE DATA CHALLENGE
CMU’s Chris Cooke and CI’s Kieron Faller explain why good data is so important in digital music. What data is out there and what challenges do we still need to tackle?
Reps from the UK industry’s key licensing organisations will then debate the ins and outs of possible solutions, including Jane Dyball CEO at MCPS/IMPEL, Mark Douglas CTO at PPL and Paul Dilorito Director Of Operations at PRS for Music.
About PRS for Music
PRS for Music represents the rights of songwriters, composers and music publishers in the UK and around the world. As a membership organisation it works to ensure that creators are paid whenever their musical compositions and songs are streamed, downloaded, broadcast, performed and played in public. In 2019, 18.8 trillion performances of music were reported to PRS for Music with £810.8m collected on behalf of its members, making it one of the world’s leading music collective management organisations.
PRS for Music’s public performance licensing is carried out on PRS for Music’s behalf by PPL PRS Ltd, the joint venture between PPL and PRS for Music.