Image6.gif (10472 bytes)                     MUSIC NEWS


MBW has rifled through the list of the most popular Spotify artists in terms of global monthly listeners.

Check out the Top 25 from today (Dec 1) below, with a symbol showing how each act's daily audience has grown or shrunk.

  1. The Weekend - 36.07m monthly listeners (+583k)
  2. Drake - 35.96m monthly listeners (-)
  3. The Chainsmokers - 35.12m monthly listeners (-)
  4. Sia - 30.59m monthly listeners (-)
  5. Major Lazer - 28.84m monthly listeners (-)
  6. Calvin Harris - 28.49m monthly listeners (-)
  7. Maroon 5 - 28.25m monthly listeners (+30k)
  8. DJ Snake - 28.18m monthly listeners (-)
  9. Ariana Grande - 27.95m monthly listeners (+18k)
  10. Bruno Mars - 27.19m monthly listeners (+110k)
  11. Rihanna - 25.3m monthly listeners (+8.5k)
  12. Coldplay - 25.06m monthly listeners (-)
  13. Shawn Mendes - 24.41m monthly listeners (-)
  14. Bebe Rexha - 23.08m monthly listeners (-)
  15. Twenty One Pilots - 22.29m monthly listeners (-)
  16. Rae Sremmurd - 21.37m monthly listeners (+380k)
  17. Martin Garrix - 21.04m monthly listeners (-)
  18. Kanye West - 20.06m monthly listeners (+29k)
  19. Adele - 19.90 monthly listeners (+51k)
  20. Justin Bieber - 19.41m monthly listeners (+93k)
  21. Wiz Khalifa - 19.13m monthly listeners
  22. Justin Timberlake - 18.88m monthly listeners (-)
  23. Imagine Dragons - 18.47m monthly listeners (-)
  24. Zara Larsson - 18.45m monthly listeners (-)
  25. Jonas Blue - 18.31m monthly listeners (-)

The Weeknd's new album, Starboy, was released via Universal's Republic on Friday (Nov 25).

By Tuesday (Nov 29), Spotify had confirmed that he had broken the record for the most streams in a day from a single artist.

The company didn't give a stat, but it must have been in excess of 36m - the figure Justin Bieber racked up on November 13 last year to claim the record.

The Weeknd's triumph is being trumpeted as a test case of what can happen when artists work with Spotify to push their blockbuster new material - as opposed to signing exclusive windowed release deals elsewhere.

On the flip side, it's quite the vindication for Sir Lucian Grainge's recent attempt to outlaw streaming exclusives amongst his top artists and labels.

Monte Lipman, Chairman & Co-Founder, Republic Records said, “Spotify’s continued support of The Weeknd has now reached historic proportions and also reinforces the tremendous growth of global streaming."

Spotify's Global Head of Creator Services, Troy Carter, said: "We're proud to have partnered with The Weeknd, his management and Republic Records on a phenomenal album. We look forward to breaking even more records together in the near future."

Spotify has previously suggested that its average per stream payout to music rights-holders sits between $0.006 and $0.0084.

If that's still true, it means The Weeknd is currently generating somewhere around $250,000 a day on the service.

Not that Drake will be too devastated: his One Dance is less than 30m plays away from becoming the first track to ever hit a billion spins on Spotify.

By the same financial calculation, that means One Dance has generated somewhere close to $7m so far...

$250,000. U.S. is equal to over $340,000. Canadian Dollars per day.

As reported by and courtesy of  Music Business Worldwide


How Streaming Is Changing The Sound Of Pop Music
Posted: November 22, 2016
 – As the industry shifts further towards streaming and away from a retail and download based economy, not only is the way in which we consume music changing, but so is the music itself, particularly when it comes to pop music.

Guest post by Jason Moss on the TuneCore Blog
[Editors Note: This is a guest blog written by Jason Moss. Jason is an LA-based mixer, producer and engineer. His clients include Sabrina Carpenter, Madilyn Bailey, GIVERS and Dylan Owen. Check out his mixing tips at Behind The Speakers.]

Last year, the U.S. music industry made more money from streaming than CDs or digital downloads.

The times, they are a-changin’.

In case you haven’t noticed, the way we consume music is shifting. You’ve likely read about how this is impacting artists. But no one’s talking about how it will impact the sound of pop music.

Streaming won’t just change the way pop music is consumed, but also the way it’s created. This shouldn’t be surprising. In fact, there’s always been a relationship between music, medium, and distribution. For proof, look to the past.

In the 60’s, Motown built records for radio. Short song lengths allowed for the regular interjection of ads, and long intros gave DJs the freedom to talk over tracks. In the 1980’s, the dawn of the CD gave way to longer-form content. The average album’s length increased from 40 minutes to well over an hour. And since it was no longer important to maintain the integrity of vinyl grooves , records started sporting wider low ends and louder levels. (Is it any surprise that hip hop emerged as a dominant genre during this time?) In the 2000’s, Apple’s decision to unbundle the album and offer single-track downloads on iTunes shifted the trajectory of the music industry once again. After an album-oriented trend that lasted decades, singles once again became the primary focus.

Throughout the history of the music business, the goal was always the same: get people to purchase records. Once that purchase was made, it didn’t matter whether the record was played or not.

The traditional pop music-making process evolved to serve these intentions. Infectious, hook-heavy records were crafted to drive listeners to the checkout aisle. The biggest hits seemed inescapable for a month or two, but often disappeared as quickly as they emerged. But as far as the music industry was concerned, this was irrelevant. As long as people bought the CD or downloaded the song, we were happy.

But streaming has completely changed the game. For the first time, financial success is no longer based on one-time sales, but on ongoing streams. The more a track is played, the bigger the payout. The implications of this shift are massive.

On streaming platforms, flash-in-the-pan tracks that burn bright and fade fast are less lucrative than ever. The most profitable pop songs instead burrow their way into the hearts of listeners, inspiring millions of streams for years to come. Success is no longer about the hit, but the replay.

This shift introduces a powerful new incentive to foster deeper, longer-lasting relationships with listeners. While tracks will still need to be hook-laden enough to inspire an immediate connection, they must also be worth listening to hundreds, if not thousands of times.

What will this mean for the pop hits of the future? We can only guess. As terrestrial radio continues to become less relevant, song structures and arrangements will likely become more fluid. New, innovative mediums may even emerge. Who says a recording has to present the same experience with every play? What if tracks evolved over time? What if, after one hundred plays, a bonus verse emerged? As play count becomes a dominant metric for measuring the success of tracks, ideas like these are fair game.

One thing’s for sure—as streaming continues to emerge as the dominant platform for music consumption, the sound of pop music will change. Will you change with it?

  as reported by and courtesy of



SOCAN Enters Mechanical Rights Business with Purchase of Audiam

July 21st, 2016
SOCAN CEO Eric Baptiste

SOCAN CEO Eric Baptiste

In a move that some are speculating could put performing rights organization SOCAN in competition with the Canadian Mechanical Reproduction Rights Agency (CMRRA) over the collection of mechanical royalties, SOCAN has purchased 100 per cent of the New York-based tech company Audiam, empowering SOCAN to expand into the business of licensing digital services and royalty payment for songwriters, composers, and music publishers.

With Audiam, SOCAN says it now has a comprehensive database, and metadata of all compositions and commercially-released digital sound recordings, and the technology and business understanding to match and connect the two, issue licenses and get rights-holders paid.

The problem of licensing and payments recently came to a head again in the form of several class-action lawsuits by rights holders against music streaming companies, mostly notably Spotify. The streaming service recently reached a settlement with the National Music Publishers’ Association, a U.S. organization, that will see Spotify pay around $20 million to publishers for dispute over licensing and unpaid royalties.

With the Audiam acquisition, SOCAN has expanded into collection of royalties for reproductions of music (“mechanicals”), licensing and royalty distribution in the U.S. and Canada. Audiam enables music creators and music publishers to be paid accurately, while removing liability, infringement and data issues for streaming music services and YouTube. Audiam provides one-stop licensing and collecting in North America.

“In 2013 Audiam shook up the music royalties system by identifying and correcting serious gaps in the digital music rights value chain, particularly with music used in YouTube videos, by correctly matching data to the rights-holder,” says SOCAN CEO Eric Baptiste. “By acquiring Audiam, SOCAN steps even further ahead with our vision to lead the global transformation of music rights with substantial new tools for our more than 135,000 member songwriters, composers, and music publishers, dramatically expanding our ability to ensure that creators are properly and fairly compensated.”

“SOCAN is not only the most technologically advanced, efficient, and transparent music rights organization on the planet, but its board of directors and executive team are singularly focused on assuring that composers and publishers are licensed, and that rights-holders are paid for the use of their music,” says Jeff Price, founder and CEO of Audiam. “Adding SOCAN’s resources and knowledge to Audiam allows us to finally fix the global industry problems, remove liability for services, and get rights-holders paid.”

Audiam was founded in 2013 by TuneCore founder and former CEO Jeff Price. Audiam’s innovative technology and business processes identify the use of music and correct data on digital services such as Spotify, Apple Music, YouTube, Google Play, and others, and get rights-holders paid, greatly expanding and enhancing the capabilities of SOCAN.

The acquisition was made final in June, and Audiam will remain a separate organization under its current name for the foreseeable future. Jeff Price will remain Audiam’s CEO and will work closely with SOCAN group CEO Eric Baptiste and his team.

Audiam brings to SOCAN one of the world’s most complete databases of sound recording and underlying song/composition metadata, as well as sophisticated audit and auto-match technology, to proactively find works that are not licensed and royalties that have not been paid.

Because part of SOCAN’s vision, according to the organization, is to lead the global transformation of music rights, the company is investing in new services for its members that says are essential in today’s globalized digital environment.

SOCAN will instantly leverage Audiam’s identification technology and services to more accurately pay members’ performing rights royalties on YouTube and other digital platforms, expanding service offerings to songwriters, composers, and music publishing members.

SOCAN plans to integrate Audiam’s other business lines, such as North American licensing and administration of mechanical income from digital services, including Spotify, Google Play, and Apple, as well as leverage Audiam’s proven track record to identify and recover pre-existing mechanical royalties that typically have remained unpaid.

Audiam’s services will be available immediately to all SOCAN members.

For a full list of services offered, click here.

The acquisition was completed in June 2016, the terms of which are undisclosed.

On May 12, 2016, SOCAN announced its purchase of Seattle-based MediaNet, a pioneer business-to-business music technology provider offering 360-degree music rights administration to SOCAN members. The combination of SOCAN’s existing capabilities and services with Audiam and MediaNet further extends the company’s leadership position among the world’s music rights organizations.

as reported by and courtesy of



Millions Of Musicians Affected As MySpace, Tumblr, LinkedIn Hacked, Sensitive Data For Sale Online
Posted: June 1, 2016
(Hypebot) – Most musicians have forgotten that they ever had a MySpace account, much less remember the password. Millions more use Tumblr as a blogging platform and LinkedIn for business contacts. Now, hundreds of millions of hacked account details from all three are being advertised for sale online.

Sensitive data from hundreds of millions of MySpace and Tumblr accounts is being sold online, according to multiple security experts. These breaches follow close on the heals of a recent massive LinkedIn hack.

The MySpace and Tumblr breaches may be months or years old. But the data has just gone up for sale, alongside info from LinkedIn. Experts suggest that it may be more than a coincidence. "There's been some catalyst that has brought these breaches to light and to see them all fit this mould and appear in such a short period of time, I can't help but wonder if they're perhaps related, according to online security expert Troy Hunt. "Even if these events don't all correlate to the same source and we're merely looking at coincidental timing of releases, how many more are there in the 'mega' category that are simply sitting there in the clutches of various unknown parties?"

MySpace Responds

"As part of the major site re-launch in the summer of 2013, Myspace took significant steps to strengthen account security. The compromised data is related to the period before those measures were implemented," Myspace wrote in a blog post. "We are currently utilizing advanced protocols including double salted hashes (random data that is used as an additional input to a one-way function that "hashes" a password or passphrase) to store passwords."

What To Do

Users are being urged to change their passwords on all three sites. Despite the breach, you may not want to delete your MySpae account entirely. Time Inc recently bought the site and is planning a relaunch.
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Playboy Throws Its Hat Into The Streaming Music Ring
Posted: June 2, 2016
(Hypebot) – Why shouldn't everyone launch a streaming music service? Now that it's eliminated full nudity from its magazine, Playboy is looking for new ways to extend its brand. Today, they launched the Playboy Music app, which is, sadly, pretty much what you'd expect from Hef & Company.

Playboy has launched a music app.

"This exciting new platform for music discovery combines breathtaking model videos with exclusive live music performances, and brings to life a new expression of Playboy's stylish, sexy and seductive attitude," gushes the press release. Alongside other models, Playboy's 2016 Playmate of the Year, Eugena Washington, will be featured prominently in the new app "with an exclusive video and pictorial gallery that can't be found anywhere else."

Powered, the app will offer new music and model pairings each month for subscribers willing to pay 99 cents per a month.

"Playboy Music celebrates the diversity of female sexiness with a curated playlist of songs framed within beautifully crafted videos," says Jeff LaPenna, Creative Director of the Playboy Music app at "But the models are more than just sexy — they are the focal point of a narrative that connects beauty with music in a way that men will enjoy and women will find empowering."

Above article courtesy of encore.celebrityaccess .com


Spotify Reported To Be Launching In Japan In July
Posted: June 1, 2016
TOKYO (CelebrityAccess) -- After months of speculation, Spotify finally appears to be gearing up for a launch in Japan.

According to ITU News, record label sources have indicated that the streaming music service is preparing for a launch in July. The company has been on a hiring spree for its offices in Tokyo since at least January of this year and its launch there has been widely anticipated.

While boasting an advanced infrastructure, Japan has been notoriously difficult ground for streaming music to crack, with consumers strongly prefering physical media over streamed music. Revenue from physical has remained remarkably stable in Japan recent years, only slipping by two percent in 2015, according to Recording Industry Association of Japan.

Other Japanese streaming music services such as Line Music, a joint venture between popular texting service Line and Sony Music; and AWA, the streaming service for Japan's second largest label Avex Group Holdings follow the paid subscription model, but have struggled after they failed to convert early free trials to paying subscribers.

Apple Music has found more success, converting a higher percentage of trial period users to paying subscribers but primarily appealing to an older demographic who have developed a taste for western music and have access to credit cards. - Staff Writers

Above article courtesy of encore.celebrityaccess .com



UK Anti-Terrorism Official Says Country On High Alert For Festival Season
Posted: June 1, 2016
LONDON (CelebrityAccess) -- As the UK gears up for a busy festival season, one of the UK's highest ranking anti-terrorism officers said that the country will be on "high alert" for potential terror attacks.

In a recent interview, deputy assistant police commissioner Neil Basu, who oversees the UK's protective security told the Sunday Times, that music festivals were "right at the top of the agenda", noting that they provided a security challenge over fixed venues due to their size and the fact that their "perimeters are much larger".

"These people are perfectly happy to target civilians with the maximum terror impact. Crowded places were always a concern for us, but now they are right at the top of the agenda," Basu told the Times. "The threat has become more difficult, because it's now potentially any time any place, anywhere."

Basu was careful to note that the government had received no specific information regarding threats against a festival.

Basu also called for stricter security measures at smaller venues, such as the Bataclan Theatre in Paris as he sees them as a particularly tempting target for would-be attackers. - Staff Writers

Above article courtesy of encore.celebrityaccess .com