MBW Views is a collection of op/eds from eminent music trade folks… with one thing to say.
The next commentary comes from Kenny Gates, the CEO and co-founder of [PIAS], a powerhouse of unbiased music that was established 43 years in the past. [PIAS] was totally acquired by Common Music Group final 12 months.
IMPALA represents the pursuits of a gaggle of unbiased music corporations in Europe. It’s at present lobbying towards Common Music Group’s proposed acquisition of Downtown Music Holdings within the EU.
Gates and his fellow [PIAS] co-founder, Michel Lambot, have been two of the unique founders of IMPALA 25 years in the past.
I not too long ago learn an opinion piece penned by Helen Smith, the Government Chair of IMPALA, concerning the proposed sale of Downtown to UMG.
I used to be astounded by the deceptive propaganda inside Helen’s feedback, and felt compelled to reply.
So, I spoke to my spouse, and he or she suggested: “Do nothing.” Then I spoke to my new colleagues at UMG, and so they mentioned: “We’re not getting concerned in that.”
Then I spoke to my PR guru and he mentioned, “Frankly mate, this isn’t your battle to combat.”
After that, I known as my long-time enterprise companion, and considered one of my oldest mates, Michel Lambot, who, like me, was a co-founder of IMPALA.
Michel mentioned, properly: “It’s all going to blow again on you Kenny. You already know that, proper? They will query your integrity and say you’re a Common stooge. Why hassle?”
However I’ve all the time spoken my thoughts, and the entire ethos of [PIAS] has all the time been to face up for what we imagine in.
I really recognize the recommendation my family and friends have provided me. However I’ve determined to deal with a few of Helen’s claims, as a result of I really feel I need to.
Additionally, as I’ve mentioned earlier than… fuck the haters.
I’ll begin with one thing that, as a long-standing advocate for the unbiased music neighborhood, notably infuriates me.
Helen factors to UMG’s bust-up with TikTok final 12 months to assist her claims of Common’s supposed market management.
On this, let me be very clear: at the very least UMG had the heart to confront TikTok and attempt to resolve that subject. As a result of – shock, shock – IMPALA did subsequent to nothing.
So many unbiased corporations and organisations publicly applauded UMG’s stance vs. TikTok. Together with, to call a number of: A2IM, NMPA, Artist Rights Alliance, Hipgnosis, Main Wave, The Affiliation of Impartial Music Publishers (AIMP), and others.
However IMPALA? Crickets.
“On UMG vs. TikTok? IMPALA merely sat on the sidelines.”
UMG had every little thing to lose taking over one of many world’s largest and strongest leisure tech corporations. They confronted immense stress from artists and their representatives throughout these negotiations, however determined it was price it within the identify of copyright’s worth.
I bear in mind a time when IMPALA led the cost on points like this – as they did through the YouTube ‘worth hole’ negotiations a decade in the past.
However on UMG vs. TikTok? IMPALA merely sat on the sidelines.
Worse: As an alternative of becoming a member of forces with different corporations/organisations inside music to assist avert a disaster – that of music rightsholders being underpaid and exploited by ‘Large Tech’ – IMPALA now decides to criticize an organization that really stood up for music.
The recorded music trade’s complete annual turnover is equal to only one week’s turnover for GAFA (Google, Amazon, Fb, and Apple).
With that in thoughts, refresh my reminiscence: who’re the actual ‘large canine’ of the music world once more?
The place is the actual case for ‘market dominance’?
It saddens me: IMPALA was as soon as a proudly pro-independent physique. In the present day, it sounds extra like an anti-major clique.
IMPALA needs to seem virtuous whereas portray the majors as ‘dangerous actors’. This falsehood remembers the absurdity of Boris Johnson’s pro-Brexit London bus.
An enormous international neighborhood of profitable independents – together with IMPALA members – are already utilizing the distribution providers of main music corporations and associates comparable to ADA, The Orchard, AWAL, and Virgin Music Group.
Helen’s factors in regards to the majors’ distribution “management” being “dangerous for artists” should bewilder all these unbiased acts (and labels) which can be settled, profitable, and completely satisfied in these enterprise relationships. To not point out FREE TO LEAVE these enterprise relationships!
“This should bewilder all these unbiased acts (and labels) which can be settled, profitable, and completely satisfied in enterprise relationships with major-owned distributors.”
It’s naïve to faux that the most important music companies haven’t been within the enterprise of unbiased distribution for over a decade now. It’s disingenuous to recommend that there are longstanding and ongoing issues inside this market.
If supposed market abuses in unbiased distribution exist, I’ve genuinely by no means seen them – or heard about them from anybody in music’s unbiased neighborhood.
(Bear in mind: Common Music Group is a publicly listed firm. Any suggestion that it might ponder bending fiduciary/market legal guidelines for its personal achieve is ludicrous.)
One other declare from IMPALA: there’s a lack of “unbiased choices” in distribution for artists and labels right now.
This too is a falsehood. Revered unbiased music trade physique Merlin is completely satisfied to suggest 19 unbiased distributors to its members.
Nineteen! Nananana nineteen (with apologies to Paul Hardcastle)!
Doesn’t nineteen distribution choices for contemporary independents – and these are simply those endorsed by Merlin – show a good quantity of market alternative?!
Maybe my largest subject right here? IMPALA’s declare to symbolize the unbiased music neighborhood.
There are actually hundreds of self-releasing artists, unbiased labels, and entrepreneurs who’re not members of IMPALA.
In actuality, IMPALA’s mandate to function on behalf of ‘independents’ truly comes from solely a tiny fraction of the sector.
I’ve all the time been a proud co-founder of IMPALA (there’s a purpose it’s headquartered in Brussels). But it’s an important disgrace that it’s change into a small-minded, inward-looking group, extra involved with specializing in imaginary issues than contributing options that really assist the music trade.
The instances, they’re a-changing… and make no mistake: the instances have modified.
Impartial music rightsholders – whether or not artists or labels – are thriving in a brand new ecosystem. The entire binary ‘indies vs. majors’ narrative is passé.
It’s time to maneuver on from this drained outdated story and handle the actual points, comparable to: the ‘worth hole’ in short-form video; the rising affect of enterprise capital and personal fairness in music rights possession and music distribution; the ever-present threats to copyright; and, in fact, the elephant within the room: A.I.
The independents’ actual enemy lies outdoors the most important music corporations.
Open your eyes.
Let’s all focus collectively on the actual points – quite than a pointless fight d’arriere garde (i.e. rearguard motion) that solves nothing.Music Enterprise Worldwide
