New issue of Music & Copyright with Italy country report

The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.

SPECIAL FOCUS: The jury’s still out on OTT video and the cannibalization of broadcast TV rights collections
Over-the-top (OTT) streaming of audio and video is a distribution means that has quickly become the leading method of consumption for both media content industries. In contrast to traditional broadcast, OTT is a process that uses the open internet rather than a service provider’s own infrastructure. Multiple services, including those from pure-play providers, such as Netflix, Disney, and Amazon, are now available worldwide. Moreover, revenue from OTT services now exceeds pay TV, and growing numbers of consumers are continuing to find the flexibility and convenience of OTT offerings preferable to traditional broadcast services. However, with the competition for viewing intensifying, TV collections are coming under pressure. Although most collective management organizations (CMOs) have seen OTT video income rise at a faster rate than TV collections have fallen, there are no guarantees that this status quo will continue indefinitely.

NEWS FEATURE: Digital and public performance gains boost APRA AMCOS receipts to new heights
Australian authors’ society APRA AMCOS has reported another big rise in rights collections. The new record-high figure is for the financial year ending June, with the total boosted by a positive 12 months for digital and a big jump in public performance receipts. The year in review marked the first not to be affected by the COVID-19 pandemic since the 2018/19 financial year. Public performance was the sector hardest hit by the virus, and last year saw the revenue source register the highest gains of all the main income sectors. TV and radio receipts were down year-on-year, while mechanical collections benefited from the resurgence in vinyl sales. Revenue from overseas returned to growth after a fall in the prior year.

SECTOR ANALYSIS: NFTs evolve beyond financial speculation to music-oriented utility
The non-fungible token (NFT), which was once the brief showpiece of the music-technology integration trend, has fallen from grace, and the Bored Apes have lost their allure. Music NFTs got caught up in and took advantage of a speculative bubble that saw a huge majority of investors get their fingers burned. However, tokenization has now shifted into the next stage of development that will see new use cases emerge. While these may seem less thrilling than the one-time sky-high prices achieved at NFT auctions, they will likely offer solutions to tackle music business counterfeiting and provide new revenue streams across both the live and recorded-music sectors.

COUNTRY REPORT: Italy
In addition to the usual set of music industry statistics and news briefs, the latest issue of Music & Copyright includes a detailed Italy music industry report. Before the COVID-19 pandemic, Italy’s recorded-music sector had experienced several erratic years, largely due to the lingering dominance of physical formats. However, digital trade sales overtook physical formats in 2018, with a sharp rise in subscription sales more than offsetting falls in CD album sales and vinyl. The pattern of sales continued into 2019, but the toll from pandemic-related government restrictions on physical formats and performance rights in 2020 resulted in a flat year overall. Sales bounced back strongly in 2021, and last year saw more of the same. Midyear sales details published by the local trade association FIMI suggest Italy is heading for another year of double-digit percentage point growth. UMG remains the clear leader in market share terms despite a fall in share and a rise for second-placed SME. After suffering a sharp fall in collections in 2020, revenue for the local authors’ society SIAE returned to growth in 2021. Last year saw a sharp rise in revenue and receipts from rights collections, with the totals benefiting from the full return of live performance. Ticket sales to live music events continued to recover in 2022 but are not forecast to top prepandemic levels until next year.

If you would like more information about the newsletter or to set up a subscription, then send us an email Alternatively, if you would like to download a sample copy, just go here.

New issue of Music & Copyright with Italy country report

The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.

Digital gains are set to boost music revenue, but publishing growth is on track to outshine recorded-music
All the world’s major recorded-music markets and one or two other smaller ones have published midyear trade figures. Music & Copyright’s annual assessment of the results suggests global recorded-music trade earnings from the sale of physical and digital recorded-music and income from music access services are set to register an eighth straight year of growth. However, the size of the rise is expected to be around half the growth rate seen last year. Music publishing is forecast to experience a bumper year, with global revenue expected to hit record levels. All the main publishing revenue streams will increase, but digital will be the star performer. Also, performance income will return to growth after three consecutive years of decline.

Polish authors’ society ZAiKS reports a year of hope in challenging times
Polish authors’ society ZAiKS has confirmed a return to growth in collections having reported its first fall in rights receipts in 2020 for five years. Total revenue in that year suffered from the effects of the government’s efforts to limit the spread of the COVID-19 virus, with performance-based income streams hit the hardest. While the virus still impacted some collection sources, public performance receipts rose sharply, with big increases in revenue from online and private copying. Broadcasting income was up year on year, although the revenue source as a share of total receipts was down slightly. Digital registered another jump in collections, with income benefiting from the continued rise in the popularity of streaming in Poland. Distributions took a tumble, while costs were flat and the society’s administration rate was down.

The time is right for music to make its gaming play
The music business is becoming ever more enmeshed with the world of gaming. One of the leading protagonists is Amazon through its Amazon Music and Twitch gaming properties that the e-commerce and online giant is increasingly deploying as part of its cross-entertainment strategy. On the gaming side, Epic Games’ Fortnite title has been something of a pioneer in bringing music performances to large audiences of gamers—and it has ambitious plans to remain on the front line. Also in the mix is Spotify, which this year became the first music streamer to make moves on Fortnite. What’s needed now is something more innovative than the in-game concert—and immersive customization could be the vital component here.

Italy country report
In addition to the usual set of music industry statistics and news briefs, the latest issue of Music & Copyright includes a detailed Italy music industry report. Before the COVID-19 pandemic, Italy’s recorded-music sector had experienced an erratic few years, largely due to the lingering dominance of physical formats. However, digital trade sales overtook physical formats in 2018, with a sharp rise in subscription sales more than offsetting falls in CD album sales and vinyl. The pattern of sales continued into 2019, but the toll on physical formats and performance rights in 2020 resulted in a flat year overall. Last year saw sales bounce back strongly, and so far this year, the gains from streaming and viny have continued. UMG remains the clear leader in market share terms, ahead of SME and WMG. All the majors took share from the independent sector. After suffering a sharp fall in collections in 2020, revenue for the local authors’ society SIAE returned to growth in 2021. However, the total remains a long way short of prepandemic levels. Ticket sales to live music events picked up in 2021, but it will take another few years before sales top the record highs of 2019.

If you would like more information about the newsletter or set up a subscription, then send us an email

New issue of Music & Copyright with Italy country report

The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.

Recorded-music trade growth set to eclipse modest rise in revenue for music publishers
With all the world’s major recorded-music markets and one or two other smaller ones having published midyear trade figures, Music & Copyright‘s annual assessment of the results suggests global recorded-music trade earnings from the sale of physical and digital recorded-music and income from music access services will rise at the fastest ever rate. The big bounce-back in sales of physical formats in some markets will provide a major boost to this year’s global total, along with the continued rise in streaming. Adding to the good news, revenue from performance rights and synchronization is expected to return to growth after a tough 2020. Income for music publishers will also register a positive year after the squeeze on the performance sector from the COVID-19 pandemic took the edge off last year’s growth.

Increase in global performance rights distributions, but fall expected for this year
Performance rights distributions to record companies (producers) and performers edged up last year, following on from a fall in 2019 that saw payments slip below the $3bn mark after reaching the milestone for the first time in 2018. Producers’ and performers’ rights have become an important source of income in recent years given the long period of demise of recorded-music trade revenue. The return to growth through increased consumer interest in streaming and subscriptions has somewhat overshadowed the importance of performance rights, but the revenue source remains a key earnings generator. While last year’s modest increase suggests that distributions defied the COVID-19 pandemic, total payments were partly based on receipts from prior year uses and so the impact on distributions to producers and performers has been delayed.

Financial big guns take aim at the catalogs business
The music industry has seen millions of dollars pour into the acquisition of song rights over the past couple of years, and rights management, which was until recently regarded as something of a backroom business, is making global headlines. Big financial players are now making sizable bets on music catalogs, which have now become firmly established as a new asset class, and valuations are on the up. Active asset management will be the key to future success, and owners will need to really sweat those newly acquired rights to achieve decent returns. Furthermore, while mainstream music will surely continue to make up the bulk of such portfolios, investors should look to pick up unexploited rights in new genres.

Italy country report
In addition to the usual set of music industry statistics and news briefs, the latest issue of Music & Copyright includes a detailed Italy music industry report. Prior to the pandemic, Italy’s recorded-music sector had experienced an erratic few years, largely due to the lingering dominance of physical formats. However, digital trade sales overtook physical formats in 2018 with a sharp rise in subscription sales more than offsetting falls in CD album sales and vinyl. The pattern of sales continued into 2019 but the toll on physical formats and performance rights in 2020 resulted in a flat year overall. So far this year, sales have bounced back strongly. UMG remains the clear leader in market share terms, ahead of SME and WMG. However, the largest of the three majors saw its distributor share fall last year with SME and WMG both making gains. Total income for the authors’ society SIAE suffered a sharp fall with collections from live performance and background music taking a tumble. Given that the live sector was effectively shuttered for nine months, total spending on concerts and festivals last year was down to the lowest level for more than 20 years.

If you would like more information about the newsletter or set up a subscription, then send us an email

New issue of Music & Copyright with Italy country report

The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.

Global performance rights distributions set to fall for second consecutive year
Performance-rights distributions to record companies (producers) and performers fell short of registering another record-breaking year in 2019 as total payments slipped back below the $3 billion mark after reaching the milestone for the first time in 2018. Producers’ and performers’ rights have become an important source of income in recent years given the long demise of recorded-music trade revenue. The return to growth through increased consumer interest in streaming and subscriptions has somewhat overshadowed the importance of performance rights, but the revenue source remains a key earnings generator. However, unlike streaming and subscriptions, performance rights are set to suffer a downturn this year from the impact of COVID-19 and the subsequent measures introduced by governments to prevent the spread of the virus shuttering many license-holding businesses.

US Supreme Court asked to reconsider denial of Stairway to Heaven appeal
The legal team acting for the estate of songwriter Randy Wolfe has asked the US Supreme Court to reconsider its October decision not to become involved in the long-running copyright dispute over the track Stairway to Heaven. Earlier this year, the Ninth Circuit ruled that Led Zeppelin and its record company and music publishers should not face a new trial over accusations that the authorship of Stairway to Heaven borrowed from the track Taurus by the band Spirit. Wolfe, better known as Randy California, played guitar for Spirit and was the author of the track. In 2018, the Ninth Circuit decided that deficiencies in jury instructions at a district court hearing two years earlier meant the trial should be repeated. The district court found in favor of Robert Plant, Jimmy Page, John Paul Jones, and the music companies. Following oral arguments in front of a panel of judges, the Ninth Circuit affirmed the original district court decision. The Supreme Court’s pronouncement to not take up the case was thought to have brought an end to proceedings. However, the new application may breathe new life into the plagiarism claim.

Digital gains boost SOCAN collections to new record, but decline expected for 2020
At the beginning of this year, the Canadian performing-rights society SOCAN published preliminary financial results for 2019. The authors’ society said total collections comfortably topped the previous year’s record with growth largely down to a sharp rise in digital income. Also, the total was boosted by the first full year of reproduction rights collections following the authors’ society’s acquisition of SODRAC in mid-2018. SOCAN has now confirmed the preliminary figures in its annual business report. However, despite the new record, the results have been overshadowed by the likely impact on this year’s revenue from the global COVID-19 pandemic. In May, SOCAN presented a depressing picture of likely collections for 2020. That guidance has subsequently been revised, but collections are still set to fall for the first time since 2012.

Italy country report
In addition to the usual set of music industry statistics and news briefs, the latest issue of Music & Copyright includes a detailed Italy music industry report. Italy’s recorded-music sector has experienced an erratic few years, largely due to the lingering dominance of physical formats. However, digital trade sales overtook physical formats in 2018 with a sharp rise in subscription sales more than offsetting falls in CD album sales and vinyl. The pattern of sales continued into 2019 but this year’s performance has been impacted by the COVID-19 pandemic, particularly physical sales, which tumbled in the first half of the year. UMG remains the clear leader in market share terms, ahead of SME and WMG with the largest major increasing its distributor share at the expense of the other two. Total income for the authors’ society SIAE edged up last year, with music collections returning to growth after a dip in 2018 (see Figure 1). However, like recorded-music sales, this year’s total will be heavily affected by the pandemic. Live sales in the country have effectively ground to a halt with no hope of any meaningful return before next year.

If you would like more information about the newsletter or set up a subscription, then send us an email

New issue of Music & Copyright with Italy country report

The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.

US leading global recorded-music sales to fifth consecutive year of growth
With all the world’s major recorded-music markets and several smaller ones having published midyear trade figures, Music & Copyright’s annual assessment of the results suggests global recorded-music trade earnings from the sale of physical and digital recorded music and income from music access services will register a higher rate of growth this year than in 2018. All the trade associations that have published figures or provided guidance have shown continued gains from music subscription services, and this earnings growth in all but one of the countries has more than offset declines in revenue from other formats. The ongoing dominance of the world’s biggest markets, particularly the US, is continuing, but the rate of growth in the less developed and so-called emerging markets is set to be higher than the global leaders.

Advocate general at European Court of Justice finds no resale right for e-books
Maciej Szpunar, advocate general at the European Court of Justice (CJEU), has provided an opinion in a case involving the resale of secondhand e-books. Often in cases involving disputes over specific points of law, an advocate general is asked to publish their opinion, which can act as guidance to the court when a specific case is heard. The case in question this time centered on the business model of a Dutch e-book reseller. Although the matter has been ruled on twice by district and appeal courts in Amsterdam, a court in The Hague asked the CJEU to answer a number of questions before making a ruling. In his published opinion, Szpunar decided that there should be no market for the resale of e-books because of the potential damage caused to rights holders. Although the advocate general’s opinion related specifically to e-books, his arguments against resale could easily be applied to recorded music.

Artists thwarted by streaming look to merchandizing to make music pay
The low level of royalty payments in the music-streaming business has long been a bone of contention among rights holders, and artists have often come out and highlighted just how few dollars most of them get from the billions of annual plays across the likes of Spotify, Apple Music, and Amazon Music. Some companies, most notably Deezer, are investigating different payment systems that better reward smaller artists. In the meantime, however, musicians looking to make a living from their music need to come up with other ways to support themselves. That is why an increasing number are looking to the selling of a range of music merchandize to put money in their coffers. Furthermore, the potential of merchandizing is not just attracting artists: each of the three major record companies is looking to increase its merchandizing play.

Italy country report
In addition to the usual set of music industry statistics and news briefs, the latest issue of Music & Copyright includes a detailed Italy music industry report. Italy’s recorded-music sector has experienced an erratic few years, largely due to the lingering dominance of physical formats. However, digital trade sales overtook physical formats last year, and the sharp rise in subscription sales more than offset falls in CD album sales and vinyl. The pattern of sales has continued this year, and Italy looks to be heading for a period of growing stability. UMG is the clear leader in market share terms, ahead of second-placed SME, with the former increasing its distributor share at the expense of the latter. Royalty collections have been positive, with only minor changes over the last three years. Total income for authors’ society SIAE edged up last year, but music collections were down slightly. Italy’s live music sector has undergone a number of strategic changes of late, most notably with the launch of Ticketmaster Italia. Earlier this year, the ticketing service partnered with local independent festival promoter Home Entertainment as part of the service’s Italian expansion. Regulators in the country have increased their attention on the secondary ticketing sector, but promoters are still bemoaning efforts to control the practice.

If you would like more information about the newsletter or set up a subscription, then send us an email

New issue of Music & Copyright with Italy country report

The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.

Funding vehicles offer opportunities to music companies
Although music industry revenue continues to increase on the back of rising streaming sales, the financial benefits aren’t spread evenly among record labels or artists, nor do they help those ailing segments of the live music sector. That’s why governments around the world support music businesses and musicians through funding programs. However, state funding is often in short supply, with music often in competition for finance with other creative endeavors. This means there are opportunities for private enterprises to step up to the plate to ensure a pipeline of talent and content necessary for commercial exploitation.

SiriusXM settles legal disputes with SoundExchange
SiriusXM and SoundExchange have settled their litigation surrounding outstanding claims from the beginning of 2007 to the end of 2017, in exchange for a lump sum payment of $150m. Both sides confirmed the settlement with SoundExchange, stating that the funds paid will be distributed to the rights owners and artists whose sound recordings were used during the settlement period. The agreement brings to an end almost five years of legal dispute centering on SoundExchange’s allegations that SiriusXM made incorrect deductions and exemptions when calculating its royalty payments. SiriusXM was also accused of failing to pay the correct fees due for a number of late payments within the same period. SoundExchange said the satellite radio service did not include in its gross revenue any performances of pre-1972 recordings, so reducing the gross revenue figure the royalty payments were based on.

ICMP accuses SGAE of operating a television broadcast distribution scam
Troubled Spanish authors’ society SGAE has been on the receiving end of fresh criticism from global music publishers’ association ICMP over an alleged inappropriate and unbalanced television broadcast distribution scam. Last year, SGAE’s offices were raided by local police that were investigating claims made by some of the authors’ society’s members who claimed that SGAE was complicit in the scam. ICMP complained that although SGAE was reprimanded by a WIPO arbitration panel, the international publishing community, and the international community of collective management organizations, the society has continued to manipulate television revenue. SGAE has denied ICMP’s accusations. Although the authors’ society acknowledged that some of its members had engaged in fraudulent conduct, SGAE said it was not party to its members’ wrongdoings.

Italy country report
In addition to the usual set of music industry statistics and news briefs, the latest issue of Music & Copyright includes a detailed Italy music industry report. Italy’s recorded-music sector has experienced an erratic few years. Despite the ongoing digital transition, overall performance has been most affected by sales of physical formats. A surprising jump in CD album sales a few years ago added almost as much revenue as streaming. The last couple of years, however, has seen physical sales fall and digital gains struggle to offset the decline. Moreover, the streaming boom came to an abrupt halt last year. UMG is the clear leader in market share terms, ahead of second-placed SME. Royalty collections have been positive with three years of growth following two years of decline. Italy’s live music sector has undergone a number of strategic changes of late, most notably with the launch of Ticketmaster Italia. Italian regulators have increased their attention on the secondary ticketing sector. Moreover, the government has introduced new regulations aimed at tackling the use of automated purchasing.

If you would like more information about the newsletter or set up a subscription then send us an email

New issue of Music & Copyright with France country report

The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.

German recorded music sector on track for another year of growth
Figures published by the German music trade body Bundesverband Musikindustrie (BVMI) show that total consumer spending on recorded music was up 3.6% in the first half of this year compared with the same six-month period in 2015. A big jump in music subscriptions was behind the overall rise, with the increase in consumer spending on paid audio on-demand services fully offsetting all other format declines. The continued revival of the vinyl LP also boosted total retail sales. Despite the fall in spending on CD albums, the format still accounted for the majority of music retail sales. However, the boom in streaming sales pushed Germany ever closer to the digital tipping point.

Second consecutive year of decline for Polish royalty collections
Polish authors’ society ZAiKS has reported its financial statements for 2015. Although collections in the year were down compared with 2014, they were still the third highest in the authors’ society history. Total distributions were also one of the highest on record, while the administration rate remained virtually unchanged year-on-year. Broadcasting remained the biggest income source for ZAiKS. However, most of the main sources of broadcast income were down, resulting in an overall broadcast collection decline. The only real domestic bright spots for ZAiKS came from a small rise in collections from background music, public performance, and neighboring rights. Internet collections fell sharply along with private copying remuneration.

SIAE reports positive year for Italian live entertainment in 2015
The Italian live events sector experienced a positive 2015 according to new figures published by the Italian authors’ society SIAE. Following on from a fairly flat 2014, total box office receipts in 2015 registered a healthy rise, with concerts generating the biggest gains and a return to growth after a decline in 2014. Attendance reversed the previous year’s dip and increased in 2015, although the rate of growth was lower than box office spending and audience turnover. In addition to concerts, box office receipts from cinemas also experienced a reversal of fortune and registered an increase, cementing the cinema sector as the Italian entertainment industry’s biggest sector. Dance was the only sector to suffer a decline in box office receipts.

France country report
In addition to the usual set of music industry statistics and news briefs, the latest issue of Music & Copyright includes a detailed France music industry profile. The French recorded music industry is currently suffering due to the ongoing transitions from physical to digital and ownership to access. Consumer interest in streaming is maintaining overall growth in digital trade earnings, but falling sales of both downloads and CD albums have pulled down overall record company earnings. There is, however, some hope that this year will see a return to growth, with midyear trade revenue up year-on-year. French authors’ society SACEM registered a positive 12 months with collections increasing after a slight year-on-year decline in 2014. France’s live music industry is highly competitive with national and international promoters battling to represent big names. However, the last 12 months have been particularly difficult for the sector following a number of terrorist attacks.

If you want to know more about Music & Copyright then follow the below links.

Music & Copyright is published by Ovum.

New issue of Music & Copyright with Italy country report

The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.

EUIPO report sheds light on young Europeans’ digital content habits
A new report published by the European Union Intellectual Property Office (EUIPO) has detailed the attitudes and behavior of 15–24-year-olds in terms of digital media and intellectual property rights (IPRs). The report looked at the main drivers and barriers to acquiring digital content made available by both legal and unlicensed online sources. The report found that young European consumers felt there was a lack of information about IPRs that would help them understand the important issues and that the current level of information available is not communicated effectively to their age group. It concluded that these factors combined to produce indifference among many young European consumers, who have been brought up in the digital age, not caring whether they infringe on IPRs when they acquire content.

GEMA reports flat year for collections and distributions
German authors’ society GEMA has reported its financial details for 2015. Total collections matched the previous year’s record total, marking the third consecutive year of growth after two years of decline. Distributions to members were down slightly but were still the second highest ever for the authors’ society. GEMA said expenses grew, but costs as a share of total revenue, excluding certain strategic costs, decreased. The authors’ society noted that its total income benefited last year from export revenue which turned out to be higher than projected, as well as favorable exchange rates. However, despite the steady year, GEMA said collections from digital services did not match the volume of use and payments made by consumers to access these services.

Big music gets to grips with big data
Data is becoming an increasingly essential tool for the music industry. Its proponents believe that robust data collection and analytics can genuinely provide a competitive edge. Festival operators and music-streaming providers have only just begun to effectively mine big data, using it to deliver more value from their products and services. We are likely to see the music industry ramp up its big data capabilities as the opportunities provided by data-driven understanding become clearer. Live music organizers and digital music providers will find themselves at the forefront of this change.

Italy country report
In addition to the usual set of music industry statistics and news briefs, the latest issue of Music & Copyright includes a detailed Italy music industry profile. Italy was one of the world’s best performing markets for recorded music in 2015. Physical and digital sales growth boosted trade earnings to the highest level since 2008. Although a long way behind Europe’s big three markets of Germany, the UK, and France in terms of trade revenue from recorded music, the country has suffered the same problems associated with high levels of recorded music available online from unlicensed sources. Despite three consecutive years of growth, trade earnings from recorded music are still considerably lower than they were 15 or so years ago. However, continued gains from subscription services suggest the country is on the road to recovery. Live music sales also had a good 2015 with mid-year data from authors’ society SIAE showing a rise in ticket sales to concerts.

If you want to know more about Music & Copyright then follow the below links.

Music & Copyright is published by Ovum.