4 MusicWeek 15.06.12 NEWS NEWS IN BRIEF
XBOX:Microsoft has announced a new music service named Xbox Music. It carries the branding of the video games console but will be compatible across a range of devices including PCs, Windows 8 smartphones and tablets. It will give users access to over 30 million tracks. NME: The IPC-owned music
publication has settled with singer Morrissey after he sued for libel following a 2007 interview. The title didn’t pay out any damages, but apologised for any “misunderstanding”. BPI: Shadow secretary of state for culture, media and sport, Harriet Harman QC MP will deliver the keynote address at BPI’s annual general meeting on Tuesday, July 3 at BAFTA, London. YOUTUBE: The video site has reached songwriting and publishing deals with BMG Rights Management, Christian Copyright Solutions, ABKCO Music, Inc., Songs Music Publishing, Words & Music, Copyright Administration, Music Services, Reservoir Media Management, and Songs of Virtual. DOMINO: The indie label has announced the launch of Domino Drip, a membership scheme. Powered by
drip.fm, the service allows followers of Domino artists to pay a subscription fee and get content delivered to their inbox. MICHAEL JACKSON: A previously unheard Michael Jackson demo, Don't Be Messin' Round, has been released by Sony Music to tease the upcoming 25th anniversary edition of the Bad album. It was originally written in 1983, but did not make the Thriller album. The 1987 remix was then overlooked for follow-up Bad. IPO: The Government has updated its estimation of the annual worth of the UK copyright industry using new research - and found a £3.2bn shortfall. Music's estimated contribution to the economy in 2009 in terms of 'artistic originals' has leapt tenfold as a result, up from £176m to £1.331bn. The new research was conducted by the Intellectual Property Office. VEVO: The online video company has launched a new accolade, the Certified Award - given to music videos that have reached 100 million views on
Vevo.com, Vevo's mobile apps and syndication partners.
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.com WEDDING PRESENT’S DAVID GEDGE STARS AT PRIMAVERAPRO CONFERENCE
‘Personal relationships key when signing with majors’
EVENT
attached to major labels within the artist community can be eroded by the right executives. Speaking at the PrimaveraPro
O
conference in Barcelona earlier this month, David Gedge of The Wedding Present discussed his decision to sign with RCA in 1989 and leave the independent Reception label – which prompted some hardcore fans to accuse the group of ‘selling out’. “[Early on] we had interest
from majors but we thought they
ne of the most respected artists in indie guitar music has claimed that stigma
would interfere with the group and we didn’t feel comfortable going down that route,” admitted Gedge. “RCA were the only people who said we could carry on doing what we were doing.” When asked if former RCA
boss Korda Marshall made signing to the label more personal, Gedge replied: “Yes. The turnaround of staff at major labels is very quick. When he left the company, we did too.” He added: “We had total artistic
control. We knew what we wanted and still do. As artists, it is a creative process. The last thing you want is a business person coming in saying, ‘You can’t do that.’”
admits that its monetary income sources have changed. “As income has declined from
Nobody’s twisting your arm: Gedge claims major labels with the right execs can foster good artist relations
Gedge, The Wedding
Present’s guitarist and vocalist, has been a mainstay in the group since it was formed in 1985. The band are still touring and making records – but Gedge
recorded music we have achieved a certain level in the live sector – it has shifted,” he admitted, adding: “I am not sure record labels will exist in the future. Maybe bands will just release stuff on the internet and be their own labels.” Music Week was a media
partner of PrimaveraPro, which also saw Domino Records director John Dyer, Bella Union founder Simon Raymonde, Rough Trade Records’ Jessica Park and Merlin CEO Charles Caldas attend.
FESTIVALS CASH ISSUES OF LIVE SECTOR DEBATED BY TOP EXECUTIVES
Festivals came under the spotlight at PrimaveraPro. One panel, Big Benefits: The Positive Role Of Festivals In Their Cities and Communities, saw a number of festival organisers explain how much money their events bring to their host cities. The numbers were quite
staggering: the South By South West festival, for example, has an economic impact of $168 million for the city of Austin, Texas; Way Out West Sweden has a financial impact of €10 million for Gothenburg and Eurockeennes is worth €2.5 million to Belfort in France.
tourism. However, a major difficulty facing festivals – and one which came up on several panels – is the scarcity of headlining acts. “There isn’t enough headliner
talent to go round,” said Ear To The Ground’s Jon Drape, while discussing the number of older bands who are headlining festivals this year on the Future of Festivals panel. “It is difficult for artists to get to
Eurosonic, meanwhile, is worth
€30 million to Gronigen, although artistic director Peter Smidt
explained that of this €2 million is in cash, while the rest comes from benefits such as media profile and
Country Music on verge of UK boost
The Country Music Association is thrilled about launch plans for Carrie Underwood in the UK as its own efforts to increase the genre’s popularity here continues. Under its CEO Steve Moore
the Nashville-based organisation has made it a priority to increase country music’s presence outside the US, with a particular focus being put on the UK. These efforts will get a significant lift on June 21 when former American Idol winner and country superstar Carrie Underwood plays her first ever UK concert at London’s Royal Albert Hall. The sold-out gig will arrive three days
after Sony releases her album Blown Away. In the States the LP became
her third consecutive Billboard 200 number one last month when it debuted at the top with 267,000 first-week sales, according to Nielsen SoundScan. “She is an incredibly talented vocalist, writer and entertainer,” said Moore. “Her powerful and passionate vocal delivery is second to none in any genre of music. Plus, in person and on stage she is extremely warm and inviting to fans and they are naturally drawn to her. She has every quality necessary to be an
international superstar. It is extremely important for CMA to nurture and support our artists who have international ambitions.” Sony CMG
marketing director Phil Savill, whose division is overseeing the UK roll- out of Underwood’s album, said: “We certainly welcome interventions from individuals and organisations trying to help break artists in this market and the CMA’s detailed demographic knowledge of a section of UK
a point where they can headline festivals,” added Mama Group’s Adam Ryan. “It is very difficult to develop and build a solid fan base.”
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audience would be very interesting to us. But our focus will remain to break Carrie as a pop artist in the broadest sense and our belief is that we have the album to do it with.”
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