Tagged: Universal

You and Taylor Swift

Whether you follow the music industry or not, it has been hard to avoid the ongoing saga that is Taylor Swift. There are hundreds of articles out there about all of the particulars and specifics of Taylor’s ongoing fight with Big Machine, the Carlyle Group and, most publicly, Scooter Braun. (Here’s one.). While relating to a super star who has a catalog worth $300,000,000.00 may be difficult, ownership of your art is infinitely relatable to musicians.

Let’s start with the basics. For the purposes of this article, we will focus on a traditional label recording agreement. When you sign a recording agreement you are agreeing to sell your recordings (the “masters”) to a label. They label will require you to deliver a certain number of records or albums over a certain period of time. In exchange they may pay you an advance (a loan against the money that is earned from those records) and will agree to pay you a certain percentage of the revenue that is earned from the exploitation (sales, streams, licenses etc.) of those records. That percentage will only be paid after they recoup all of the money that they have previously paid to you as an advance as well as amounts paid to record that music and oftentimes, to promote or market the records.

So that is how the money part of a recording typically works (more or less). The term of a recording agreement is a whole other animal.

Let’s use Ms. Swift as an example. Her original deal with Big Machine was to deliver 6 albums. She completed that delivery at some point in 2018. She recouped shortly thereafter (obviously). So she was free to go explore the market as a free-agent. But here is where it gets interesting and where many of our clients get confused. Just because the term of the recording agreement expired does not mean that the label gives up ownership of the records that were already delivered. That ownership is perpetual (aka forever). On top of owning the masters forever, Taylor’s recording agreement (as with most of them) had a restriction on re-recording of the masters. That means that for an extended period of time, Taylor cannot re-record any of the songs from the albums that are owned by the label. This restriction has led to the current and very public dispute with Scooter over whether Taylor can actually perform any of the songs owned by Big Machine/Scooter/Carlyle at the American Music Awards where Taylor is being honored for her legacy as a recording artist. Why would she be prohibited from performing these songs? Scooter and his squad were making the argument that the AMA’s will be recorded so that the re-recording restriction contained in her contract prohibits the performance. This has since been resolved and Taylor will be able to sing her heart out on all of her past hits at the award show.

Again, Taylor’s struggle is not exactly one that most musicians face. Most musicians do not experience a major venture capital firm (Carlyle) headed by one of the most public and powerful music industry moguls (Scooter, who also happens to be sworn enemy of Taylor’s), purchasing their legacy of master recordings for hundreds of millions of dollars. However, anyone entering into a recording agreement should know that they are selling, assigning and transferring the copyright and ownership of her recorded music to a third party. Accordingly, they will not own and certainly will not be in control of their past art.

For some, selling their art is not an issue. It is a centuries old practice that extends beyond music (think paintings, sculptures, movies etc.). However, for others it can be a tough pill to swallow. For those musicians who are aware and informed of the current financial model for the music industry, they know that owning their masters is not just artistically important but financially significant as well. So what is an artist to do?

First off and most importantly, know what you are signing. Find someone who has experience dealing with this fact pattern. Whether that is a lawyer or manager or just a musician friend, consult with them and ask questions. Further to that point, ask the people that you are considering signing with what their intention is. If the language of the agreement doesn’t match that intention, you should probably run away; quickly. Second, know that there is no longer just one type of recording agreement. The days of standard completely one-sided recording agreements are dead. While labels will always try to get the most out of any signing, musicians have options. There are license deals where you essentially license your masters to a label for a set amount of time. Once that time is over, the master revert back to you. There are deals to be struck with distributors. Distributors of music will fund artist projects without taking any ownership and simply recoup off of the streaming revenue that they are earning by distributing your music. There are a lot of carve outs and exceptions that can be drafted into a recording agreement that can solve for the situation that Ms. Swift has found herself.

If you are Taylor Swift today versus Taylor Swift at 15 you not only are ridiculously successful and rich but you are operating without a tremendous amount of leverage. Her new deal with Universal/Republic undoubtedly contains language that allows her to share in the ownership of her new masters or at the very least allots her the ability to buy them back at the end of her term. So while you may not have her catalog and leverage, you can at least arm yourself with knowledge, understanding and a team to help you navigate your way to Swift-like stardom!

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What’$ in a Stream?

There have been a ton of articles written about how the current revenue models created by streaming platforms are grossly unjust and woefully inadequate as far as compensating artists.   Great sources like Digital Music News have compiled hundreds of pages of Spotify reports in an effort to truly understand how much money an artist can make per stream.  Forbes via Quora has probably the best breakdown of how Spotify, Apple, et. al. work with musicians, labels, publishers and “back office services” when calculating the true revenue per stream.

Unfortunately for artists, the result of all of the calculations results in the following analysis:  The revenue per stream is really really really low.  Like $0.004891 per stream low.  Easier math to contemplate is to figure that for every 1,000,000 streams on Spotify, your band will make $5,000.

More crappy financial news for musicians.  The fact that music industry is on a never-ending downward spiral is as newsworthy as another allegation that Trump has ties with the Russians.  Everyone knows.  Yet, a funny thing keeps happening with all of the artists that we work with here at L4M and The Propelr.  They all turn to their numbers on Spotify before literally everything else.  The success of a project, in their minds, is almost exclusively dependent on the number of streams on Spotify.

So if your music isn’t on New Releases Friday or doesn’t make it onto Rap Caviar, how does an independent artist get significant spins on Spotify?

Not surprisingly “streaming promotion” companies are popping up.  Promises are being made that for approximately $5,000 you can be assured of, wait for it…1,000,000 streams on Spotify (no risk offer!).  I’m not saying that these companies cannot achieve this benchmark but it leads to a greater question of what is the value in having millions of streams, especially if you have to pay for them.

Paying for spins is not a new idea.  Payola ruled the industry for decades.  Payments to program managers and dj’s of radio stations were as common as paying for studio time. While Payola was officially made illegal by Congress in 1960 some form of pay for play remained commonplace in the industry for the next fifty years.  Rather than straight up paying for radio rotation, promotional payments were made as marketing expenditures and not-so-cleverly identified as artist or record promotion.  In 2005 the State of New York settled with the majors to try to put a stop to this practice and loop hole in the law. There was a chilling effect after that out-of-court settlement but those who have tried to get their music on the radio still know you have to pay someone to get there.  It’s just the way it is.  Want a number one album, plan on spending $200,000 (according to an anonymous label source).

With the advent of streaming officially taking over the value of physical sales for the major labels, the labels are forced to (finally) face the fact that they are in the streaming business rather than the download or sale of music business.  (Click Here for a great article about it from Music Industry Blog)   That means that there will be far more attention, effort and dollars going into boosting the numbers of spins that a song receives.  Labels will most likely swallow up some of these independent spin maximization services and look to infiltrate the algorithm and fan behavior platforms like Pandora and Spotify.

With the labels spending more time, money and attention on the importance of streams is that 1,000,000 spin number even worth it?  In short, yes but don’t pay someone to get them for you.

First off, there is no guarantee that these promotional streaming companies can achieve authentic spins.  Think of boiler room scenario where computers are set to repeat on your song.  Is that worth it to get to 1,000,000 streams?  Sure it is worth about $5,000, but that is what it cost you.  So did you gain any fans?  Will you be able to point to the analytics that Spotify provides and show promoters that your fanbase is active in a certain city?  Can you spend money on Facebook advertising your merchandise in a specific market based on the analytics you get from those spins?  No to all of the above.

There are ways to get authentic fans and via those fans, authentic spins.  One way is to reach out directly to folks at a platform.  Spotify employees repeatedly tell us they are far more likely to open a personal email versus a canned announcement or press release form a label or management company.  Identify a playlist that you really like and try to find out the editor of that playlist.  No guaranty that you will hear back from them but it is definitely worth a shot.  Also look to distributors for help.  If you have a track record of selling your music independently or getting tens of thousands of streams, you may be able to entice a distributor to put your music out to all outlets.  These companies have teams that are in constant communication with streaming services.  They will pitch your music to playlists and have the relationships to actually get it done.  Finally, when you release your music, make sure you direct everything, your press/social posts/interview answers etc. to the platform on which you want the most spins.  Use embeddable codes from your chosen platform on every post to maximize spins.  All of these and the help of a solid squad will help to maximize spins, revenue and happiness (well maybe not the last one).