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Belgium | ONB sentenced for breaching musicians’ neighbouring rights

Orchestra photograph

In a joint press release issued on 20 October 2020, Belgian unions CGSP Culture & Media, CSC-​ACV Transcom and SLFP-​VSOA wel­comed with sat­is­fac­tion the court deci­sion order­ing the dis­tri­b­u­tion by the Belgian National Orchestra (ONB) of video record­ings unau­tho­rized by musi­cians to be stopped.

Negotiations had tak­en place between the orches­tra man­age­ment and unions over the amount of remu­ner­a­tion to be paid to musi­cians in exchange for the trans­fer of their exclu­sive rights. After the fail­ure to reach an agree­ment, the ONB decid­ed uni­lat­er­al­ly to make sev­er­al video record­ings avail­able to the pub­lic with­out the pri­or autho­ri­sa­tion of the musi­cians and their unions, for a lump-​sum remu­ner­a­tion arbi­trar­i­ly fixed at €600.
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Revenues from audio streaming: the figures don’t add up

The streaming business model

The fig­ures pub­lished by the indus­try are clear: since 2012, the music stream­ing mar­ket has been pro­gress­ing con­tin­u­ous­ly. This growth is accel­er­at­ing year after year, in a spec­tac­u­lar way. In the United States, streaming-​generated rev­enues for 2019 exceed­ed the total record­ed music mar­ket for 2017 (RIAA data). The trend is the same on the British mar­ket, where fig­ures for 2019 set new records: for the first time, the annu­al num­ber of streams exceed­ed 100 bil­lion (BPI data).

As the stream­ing econ­o­my devel­ops, the ques­tions grow as to the way in which rev­enues are divid­ed between the var­i­ous sec­tor play­ers.
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UK | Fix streaming to Keep Music Alive

UK campaign ‘Keep Music Alive’

The Covid-​19 cri­sis has hit music per­form­ers hard. Gigs have been can­celled, fes­ti­vals and per­for­mances post­poned, and record­ing stu­dios closed. It has brought into sharp relief the fact that musi­cians are sus­tained pri­mar­i­ly by income gen­er­at­ed by the live side of the music busi­ness and that stream­ing roy­al­ties are woe­ful­ly insufficient.

It would take 53 mil­lion Spotify streams to break even on a € 24,000 loss, a fig­ure that is unat­tain­able for most musi­cians. In the UK, one in five respon­dents to an MU sur­vey said they were con­sid­er­ing leav­ing music alto­geth­er.
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Fair Internet coalition meets with Commissioner Gabriel

Commissioner Mariya Gabriel Press release I BRUSSELS, 9 June 2020

Exchanging with Commissioner Gabriel today, AEPO-​ARTIS, FIA, FIM and IAO shared with her what they con­sid­er the European Commission’s key pri­or­i­ties should be in order to strength­en per­form­ers’ pro­tec­tion and enable them to envis­age ful­fill­ing pro­fes­sion­al careers.

AEPO-​ARTIS, FIA, FIM and IAO wel­come that the European Commission recog­nised the impact of the COVID-​19 pan­dem­ic on the cul­tur­al and cre­ative sec­tor in its recent EU recov­ery plan. In this regard, it is absolute­ly essen­tial that the EU can pro­vide per­form­ers with appro­pri­ate short- and mid-​term sup­port, finan­cial and oth­er­wise.
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International Conference on Streaming | Mumbai, 2 – 3 Dec. 2019

4th International Conference on Streaming
Mumbai | 2 – 3 December 2019
Hosted by MFI
MFI logo

Click here to register

IMC con­fer­ence cen­tre (Indian Merchants’ Chamber aka Chamber of Commerce and Industry). IMC Marg, Mumbai, Maharashtra 400020
Locate the IMC on a map
How to get to the IMC from the Trident Nariman Point


Mumbai 400 021, India
Prices are valid for a stay between 30 Nov. – 6 Dec. Breakfast and WiFi included.

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Fair Internet | Artists meet European MPs

Campaign event at EU parliament, Strasbourg

The work of the European Parliament on the pro­posed European Directive on copy­right in the dig­i­tal sin­gle mar­ket is reach­ing its end: after the opin­ion com­mit­tees, the Committee on Legal Affairs (JURI) will be stat­ing its posi­tion on 21 June on the text which will be sub­mit­ted to a vote of the European Parliament, in prin­ci­ple dur­ing the com­ing weeks.

The Parliament’s CULT (Culture) and ITRE (Industry) Committees have already come out in favour of the intro­duc­tion, for per­form­ers, of a non-​transferable, collectively-​administered right to remu­ner­a­tion.
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Tidal suspected of huge fraud


Launched in Sweden in 2014, the Tidal music stream­ing ser­vice has since 2015 belonged to the Project Panther Ltd Company, owned by rap­per Jay‑Z mar­ried to singer Beyoncé.

Competing with plat­forms such as Spotify, Deezer or Apple Music, Tidal under­scores a more equi­table redis­tri­b­u­tion of its rev­enues in favour of artists and the avail­abil­i­ty of part of its cat­a­logue in MQA for­mat, a new stan­dard aimed at an audio­phile clientele.

While Tidal’s prof­itabil­i­ty per­spec­tives are more uncer­tain than ever, a report from the Center for Cyber and Information Security (CCIS) from the Science Faculty of Norway (the coun­try where Tidal’s par­ent com­pa­ny is locat­ed) indi­cates that Tidal alleged­ly allo­cat­ed 320 mil­lion false lis­ten­ings to two albums: Kanye West’s The Life of Pablo and Beyoncé’s Lemonade.
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Streaming: pro-​rata vs user-​centric distribution models

First pub­lished on the SML web­site

More for few or few­er for more – The results of a com­par­a­tive study on pro rata and user-​centric dis­tri­b­u­tion models

Currently, the mon­ey goes to the most lis­tened tracks instead of being allo­cat­ed in accor­dance with the con­sumer’s choices

The study com­mis­sioned by Finnish music orga­ni­za­tions explored the dif­fer­ences between the pro rata mod­el favor­ing the most lis­tened tracks and being in use in stream­ing ser­vices, and the alter­na­tive user-​centric mod­el based on indi­vid­ual con­sumer’s choic­es.
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