NMPA To Celebrate Lady Antebellum with Icon Award

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lady antebellum 2015The National Music Publishers’ Association (NMPA) will welcome Lady Antebellum to headline its Spring Songwriter Showcase on March 24. The trio will also be honored with NMPA’s Icon Award for their contributions to the craft of songwriting and advocacy for those in their industry. The event will also recognize the Congressional sponsors of the Songwriter Equity Act, a bill to achieve fairer royalty rates for songwriters.

“It doesn’t get any bigger or any better than Lady Antebellum when it comes to songwriting, singing and caring about the future of creators,” said David Israelite, President and CEO of NMPA. “Hillary, Charles and Dave are all songwriters in their own right, and what’s more, they have not forgotten where they came from and what it took to get where they are. They continue to stand up for creators who struggle to make a living under the streaming regime, and we are thrilled to honor them with our Songwriter Icon Award.”

NMPA’s Spring Songwriter Showcase will take place at 101 Constitution’s rooftop terrace where Brooklyn-based songwriter Grace Weber will open for Lady Antebellum. After a performance, Hillary Scott, Charles Kelley and Dave Haywood will be presented with NMPA Songwriter Icon Awards and NMPA Gold & Platinum Awards for writing their certified hits including “Bartender,” “Need You Now,” and “I Run to You.” Past recipients of the Icon Award include Jon Bon Jovi and Steven Tyler.

Lady Antebellum recently released their fifth studio album, 747, which follows over 11 million albums sold worldwide, nine trips to No. 1 on the country radio charts and six Platinum singles.

Lee Thomas Miller, Beth Matthews To Speak on Behalf of Songwriters

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Lee Thomas Miller is in DC this week.

Lee Thomas Miller is in Washington, D.C. this week.

Nashville Songwriters Association (NSAI) President Lee Thomas Miller, and ASCAP CEO and General Counsel Beth Matthews are among those who will testify during a Senate subcommittee hearing titled “How Much For a Song?: The Antitrust Decrees that Govern the Market for Music,” tomorrow (March 10) at 10:00 a.m. EST. Miller will appear on behalf of BMI, and Matthews on behalf of ASCAP, before the subcommittee on Antitrust, Competition, Policy and Consumer Rights to vie for changes to the outdated consent decrees which currently govern the rate setting procedures used by the PROs.

“Performance royalty rates for American songwriters are governed by ASCAP and BMI consent decrees from 1941,” said Miller. “We get paid ridiculously low rates when our songs are streamed through digital music services. Changes must be made or songwriting, as a profession, will become extinct.”

Other witnesses include: Matt Pincus, Founder and CEO of SONGS Music Publishing; Mike Dowdle, VP of Business Affairs and General Counsel of Bonneville International; Jodie Griffin, Senior Staff Attorney–Public Knowledge; and Chris Harrison, President of Business Affairs–Pandora Media, Inc. (If the hearing is streamed, it can be accessed at www.judiciary.senate.gov.)

Elizabeth Matthews

Elizabeth Matthews

Following the hearing, Miller and ASCAP songwriter Jessi Alexander will perform some of their hits in an event sponsored by NSAI and the National Music Publishers Association.

“We want policy makers to see how little a songwriter earns when their creations are streamed,” said NSAI Executive Director Bart Herbison. “We will present payment information from Pandora illustrating that millions of streams amount to only hundreds of dollars.”

This hearing follows last week’s reintroduction of the Songwriter Equity Act (SEA) in the Senate and House of Representatives. The SEA aims to change the process that sets royalty rates for American songwriters.

Currently, two outdated portions of the Copyright Act, Section 114(i) and Section 115, prevent songwriters from receiving royalty rates that reflect fair market value for the use of their intellectual property.

Section 114(i) forbids federal rate courts from considering sound recording royalty rates as a relevant benchmark when setting performance royalty rates for songwriters and composers.

The SEA would allow the rate court to consider other royalty rates as evidence when establishing digital performance rates.

Section 115 of the Copyright Act has regulated musical compositions since 1909, before recorded music existed. Section 115 allows anyone to seek a compulsory license to reproduce a song in exchange for paying a statutory rate. Today, that rate is 9.1 cents per song and does not reflect market value.

The SEA would adopt a fair rate standard for reproduction (mechanical) licenses that reflects free market conditions.

Gorley, Brown, Child Slated For ASCAP’s “I Create Music” Expo

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ASCAP 2015 I Create Music ExpoASCAP will welcome several top-shelf songwriters during its 2015 ASCAP “I Create Music” Expo, slated for April 30-May 2 at Los Angeles’ Loews Hollywood Hotel.

The expo is now in its 10th year, and offers three days of panels and discussions centering around the art and business aspects of songwriting, producing and composing, as well as an array of performances from artists and songwriters.

Among the writers scheduled to take part in the expo this year are Ashley Gorley (Carrie Underwood, Brad Paisley), Darrell Brown (LeAnn Rimes, Keith Urban), Desmond Child, Bill Withers, Kevin Cronin (REO Speedwagon), Lou Gramm (Foreigner), Savan Kotecha (Ariana Grande, Jessie J, One Direction), Greg Kurstin (Kelly Clarkson, Ellie Goulding), and more. Gorley will take part in The Writers Jam with Andrew Bird, Aloe Blacc, and others. Brown will participate in a live multi-genre song feedback workshop series.

“The ASCAP ‘I Create Music’ EXPO has become one of our signature events and for good reason,” said ASCAP President Paul Williams. “The chance to meet and learn from others who share the enthusiasm for our craft is immensely valuable, especially when you’re in the early stages of your career. This is something ASCAP excels at, and with EXPO we’re gratified that we can provide the opportunity for music creators of all levels and genres to come together for this incredibly rewarding experience.”

Williams will participate in a conference panel on Saturday, May 2, that will focus on legislative issues affecting songwriters. Joining Williams will be songwriter/artist Aloe Blacc, ASCAP CEO Beth Matthews, and co-sponsors of the Songwriter Equity Act, Congressmen Doug Collins and Hakeem Jeffries.

Belmont University, Sea Gayle Music, AIMP Celebrate Pipeline Project 4.0 Success

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From L to R Marc Driskill, Executive Director, AIMP Doug Howard, Dean, Mike Curb College of Entertainment & Music Business (CEMB) Sarah Cates, Director of Development & Industry Relations (CEMB) Anthony Manker, Pipeline 4.0 Alex Marsh, Pipeline 4.0 Hanna Seymour, Coordinator of Student Enrichment (CEMB) David Schrieber, Lecturer of Music Business (CEMB) Drew Ramsey, Instructor of Songwriting (CEMB), James Elliott, Chair of Songwriting (CEMB)

Pictured (L-R):  Marc Driskill, Executive Director, AIMP; Doug Howard, Dean, Mike Curb College of Entertainment & Music Business (CEMB); Sarah Cates, Director of Development & Industry Relations (CEMB); Anthony Manker, Pipeline 4.0; Alex Marsh, Pipeline 4.0; Hanna Seymour, Coordinator of Student Enrichment (CEMB); David Schrieber, Lecturer of Music Business (CEMB); Drew Ramsey, Instructor of Songwriting (CEMB); James Elliott, Chair of Songwriting (CEMB)

Sea Gayle Music Executive Vice President/General Manager and Executive Director of the Nashville Chapter of the Association of  Independent Music Publishers (AIMP) Marc Driskill, along with several representatives from Belmont University, including Doug Howard (Dean of the Mike Curb College of Entertainment & Music Business) and Sarah Cates (Director of Development & Industry Relations), gathered at Nashville venue Citizen on Tuesday, March 3 to celebrate the recent success of Belmont University students involved in research as part of the Belmont Pipeline Project 4.0.

Driskill and Brad Peterson of 5/3 Bank engaged Belmont and the student members of the Belmont Pipeline Project 4.0 this past summer to take a deeper look into the current conversations surrounding copyright laws.

Belmont students Devin Dawson, Anthony Manker and Alex Marsh took the lead in the Belmont Pipeline Project 4.0, interviewing members from different facets of the music industry to get their opinions on the issues and solutions driving the current state of copyrights. “The first week I sat down with them, I told them there wouldn’t be a structure,” said Driskill. “I said, ‘You are going to learn, interview, and come back with your aggregated opinions on this. They went and sat through the copyright roundtables that Belmont University helped set up. They interviewed people across the industry spectrum, including Vincent Candilora at ASCAP, Jody Williams at BMI, others from RIAA, SoundExchange. They interviewed everyone that was a part of this. Kudos to them for the work they did.”

The students shared their research of identifying common patterns between stakeholders and expressed what they thought to be the ‘three keys to licensing reform,’ including efficiency, fair compensation and understanding.  The students then submitted a full proposal to the copyright office with their recommendations, in addition to presenting at an open forum to students and the music industry in September 2014. According to Driskill, the copyright office referred to the students’ proposal approximately 12 times in the recent 245-page study Copyright and the Music Marketplace: A Report of the Register of Copyrights.

“I just think that’s a big deal to have taken on a project like this and made an impact in such a short time,” Driskill said. “They worked for most of the summer on this. I and AIMP and 5/3 wanted to take the time to congratulate them on their accomplishments. This project engages the voices of the next generation. These are important voices and we saw that engaging them this way would be beneficial to us all.”

The students’ career plans are varied. Dawson has plans to continue pursuing a career as a songwriter, while Manker aims to become a music publisher, and Marsh has his sights set on law school.

 

 

Songwriter/Producer Luke Laird Renews with UMPG

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Pictured: Front row (L-R): Beth Laird, co-owner of Creative Nation Music; and Luke Laird. Back row (L-R): Travis Gordon, UMPG Creative Director; Kent Earls, Executive VP/GM of UMPG Nashville; Missy Wilson, UMPG Sr. Creative Director; and Ron Stuve, UMPG VP A&R.

Pictured: Front row (L-R): Beth Laird, co-owner of Creative Nation Music; and Luke Laird. Back row (L-R): Travis Gordon, UMPG Creative Director; Kent Earls, Executive VP/GM of UMPG Nashville; Missy Wilson, UMPG Sr. Creative Director; and Ron Stuve, UMPG VP A&R.

Universal Music Publishing Group (UMPG) Nashville has renewed its deal with Grammy-winning songwriter/producer Luke Laird, extending his longstanding relationship with the company.

Laird’s exclusive worldwide deal encompasses his entire catalogue as well as future works. Throughout more than a decade with UMPG Nashville as his publisher, Laird has garnered more than 800 credits to his name.

“From his first No. 1 co-written single in 2007 through his 19th No. 1 last week, we have been honored to work with Luke Laird every step of the way. His tireless passion, endless creativity and genre leading songwriting excites the UMPG staff every day. We look forward to what he delivers next!,” said UMPG Nashville Executive Vice President/General Manager Kent Earls.

“I’ve been part of the Universal Music Publishing family for over 10 years and I’m excited to continue the partnership with Kent and the entire team,” Laird said.

Over his career, Luke Laird has co-written 19 No.1 songs on Billboard’s Nashville Country Airplay chart. To date, his songs have contributed to the sales of more than 20 million albums. Laird has penned No.1 hits for a multitude of artists including Luke Bryan (“I See You”), Kenny Chesney (“American Kids”), Lady Antebellum (“Downtown”), Tim McGraw (“One of Those Nights”), Rodney Atkins (“Take a Back Road”), Eric Church (“Give Me Back My Hometown,” “Talladega,” and “Drink in My Hand”), Chris Young (“You”), Carrie Underwood (“Undo It,” “So Small,” “Last Name,” and “Temporary Home”), Brad Paisley (“Beat This Summer”), Sara Evans (“A Little Bit Stronger”), Blake Shelton (“Hillbilly Bone” feat. Trace Adkins), Little Big Town (“Pontoon”), Frankie Ballard (“Sunshine and Whiskey), and Hunter Hayes (“Somebody’s Heartbreak”).

In 2012, Laird received both BMI’s Country Songwriter of the Year award and won the Frances W. Preston Award Song of the Year Award for “Take A Back Road.” In 2014, he received his first Grammy Award in 2014 for co-producing Kacey Musgraves’ album, Same Trailer Different Park. In early 2015, he also received his fourth CMA Triple Play Award for three No.1 singles in a 12-month period.

Laird has worked with such other major artists as Miranda Lambert, John Legend, Ne-Yo, Rascal Flatts, Lee Ann Womack, Amy Grant, Lauren Alaina and Charlotte Church among many others.

BMI Honors KC And The Sunshine Band

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Harry Wayne "KC" Casey and BMI's David Preston. Photo: Jeremy Westby

Harry Wayne “KC” Casey and BMI’s David Preston. Photo: Jeremy Westby

KC and The Sunshine Band were honored on Tuesday March 3 by Broadcast Music, Inc. (BMI), recognizing their long-standing career and outstanding contributions to the music industry through iconic hits.

The band’s frontman, Harry Wayne “KC” Casey was present at the BMI offices in Nashville, Tenn., to accept the coveted awards from BMI Director and Writer Publisher, David Preston.

Among the honors garnered were seven (7) Pop Awards, four (4) million performance certificates, two (2) R&B Awards, two (2) two-million performance certificates, and one (1) Urban Award. The accolades span the years from 1974 to 2013 — the latest in which they won their most recent recognition, an Urban Award, for “Pop That.” BMI first recognized their musical contributions in 1974 with a two million performance certificate and Pop Award for international No. 1 smash, “Rock Your Baby.”

“If you take a song, of a normal length, and you play it back-to-back, it takes it over six years to reach a million performances. Today, we present KC with certificates representing over eight million performances — a remarkable feat,” said Preston.

KC added, “It puts a smile of my face to know that my music has made such an impact over the years. I created dance music to make people happy, and it turns out that it’s made me pretty happy, too!”

KC and The Sunshine Band’s new album, Feeling You! The 60s, is available for pre-order on iTunes and Amazon now, and will be available in music stores nationwide and worldwide digital realms Tuesday, March 10.

BMI Award certificates for KC and the Sunshine Band. Photo: Jeremy Westby

BMI Award certificates for KC and the Sunshine Band. Photo: Jeremy Westby

 

 

SESAC Names Seth Mosley as 2015 Christian Songwriter of the Year

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Pictured (L-R): SESAC’s Tim Fink, Steve Rice of CentricSongs, Seth Mosley and SESAC’s John Mullins.

Pictured (L-R): SESAC’s Tim Fink, Steve Rice of CentricSongs, Seth Mosley and SESAC’s John Mullins.

Songwriter Seth Mosley was among those honored last night (March 3) as performing rights organization SESAC feted songwriters and publishers behind some of Contemporary Christian Music’s top songs in 2014. Mosley was named the 2015 Christian Songwriter of the Year. Mosley, who is signed to 2 Hour Songs/CentricSongs, was the songwriter behind several of the evening’s honored songs, including “Fight Song,” recorded by The Almost, “Fix My Eyes” (For King & Country), “He Knows My Name” (Francesca Battistelli), “Let It Be Love” (Family Force 5), “Start A Fire” (Unspoken), “You Won’t Let Go” (Michael W. Smith), and  “A Million Miles Away” (Hawk Nelson). He took home 12 performance awards for songs including “All Things Possible” (Mikeschair), “Fighter” (Manafest) and “Outta My Mind” (Anthem Light) among others.

CentricSongs was named the 2015 Christian Publisher of the Year.

Performers included Francesca Battistelli, Unspoken, and Seventh Time Down.

More than 30 songs were acknowledged at the awards dinner which was hosted by SESAC’s Tim Fink and John Mullins. Songs honored during the evening include:

“A Million Miles Away” recorded by Hawk Nelson
Written by Seth Mosley, Aaron Rice, Jonathan Steingard
Published by 2 Hour Songs, Atlantis Underwater Music, CentricSongs, Fairtrade Tunes, Songs of Essbearre, Songs of Third Base, Universal Music – Brentwood Benson

“All Eyes On You” recorded by OBB
Written by Justin Ebach, Jacob Oswald, Nich Oswald, Zach Oswald, Nate Sallie
Published by Bella Muerte, Cup of Dirt Publishing, Curb Congregation Songs, How Do You Like My Publishing, Wordspring Music

“As Winter Stays” recorded by llia
Written by Susana Martinez
Published by llia LLC

“Break The World” recorded by Nine Lashes
Written by Jeremy Dunn, Jared Lankford, Adam Jefferson, Jon Jeffferson, Noah Terrell
Published by Jared Lankford Publishing, JDE, Jeremy Michael Publishing, Moms like Us Too, Nine Lashes Music Group, Thomas Terrell Publishing

“Closer To Your Heart” recorded by Natalie Grant
Written by Natalie Grant
Published by SeeSeeBubba Songs

“Commodity” recorded by Remedy Drive
Written by David Zach, Philip Zach
Published by Clive Staples, The Grid Publishing

“Do Life Big” recorded by Jamie Grace
Written by Jamie Grace
Published by Songs of Third Base, Universal Music – Brentwood Benson

“Don’t Deserve You” recorded by Plumb
Written by Tiffany Arbuckle Lee
Published by Curb Congregation Songs, ShoeCrazy Publishing

“Easy Way Out” recorded by Southbound Fearing
Written by Brady Leonard
Published by Original RCR Music Group

“Faithful” recorded by Hawk Nelson
Written by Jonathan Steingard, Sam Tinnesz
Published by Atlantis Underwater Music, Fairtrade Tunes, Shivel Songs

“Fight Song” recorded by The Almost
Written by Seth Mosley
Published 2 Hour Songs, CentricSongs

“Fireblazin’” recorded by Capital Kings
Written by Ben Thompson, Cole Walowac, Jonathan White
Published by Capitol CMG Amplifier, Songs of Third Base, Universal Music – Brentwood Benson

“Fix My Eyes” recorded by For King & Country
Written by Seth Mosley
Published by 2 Hour Songs, CentricSongs

“He Knows My Name” recorded by Francesca Battistelli
Written by Seth Mosley
Published by 2 Hour Songs, CentricSongs

“Here For A Reason” recorded by Ashes Remain
Written by Justin Ebach
Published by Wordspring Music

“Hope Can Change Everything” recorded by Bart Millard, Francesca Battistelli, Jamie Grace, Jeremy Camp, Matt Maher & Sidewalk Prophets
Written by Justin Ebach
Published by Wordspring Music

“How Can It Be” recorded by Lauren Daigle
Written by Jason Ingram, Paul Mabury
Published by Flychild Publishing, Open Hands Music, Sony/ATV Timber Publishing

“King Of My Heart” recorded by Love & The Outcome
Written by Jeff Pardo
Published by Da Bears Da Bears Da Bears Music, Meaux Jeaux Music

“Lay It Down” recorded by Sanctus Real
Written by Matt Hammitt, Peter Kipley, Chris Rohman
Published by Bluehouse, East Front Music, Meaux Jeaux Music, Songs from the Indigo Room, Stonebrook Music

“Let It Be Love” recorded by Family Force 5
Written by Seth Mosley
Published by 2 Hour Songs, CentricSongs

“Lord I’m Ready Now” recorded by Plumb
Written by Tiffany Arbuckle Lee, Luke Sheets
Published by Curb Congregation Songs, ShoeCrazy Publishing, Tunes of Parallel

“Making Me New” recorded by Royal Tailor
Written by Jeff Pardo
Published by Da Bears Da Bears Da Bears Music, Meaux Jeaux Music

“Memory” recorded by Decyfer Down
Written by Chris Clonts, Brandon Mills
Published by chrisclontspublishing, Sobx Music `

“My Heart Is Yours” recorded by Passion feat. Kristian Stanfill
Written by Jason Ingram
Published by Open Hands Music, Sony/ATV Publishing

“Never Back Down” recorded by Nine Lashes
Written by Jeremy Dunn, Jared Lankford, Adam Jefferson, Jon Jefferson, Noah Terrell
Published by Jared Lankford Publishing, JDE, Jeremy Michael Publishing, Moms Like Us Too, Nine Lashes Music Group, Thomas Terrell Publishing

“Never Too Late” recorded by Kutless
Written by Ian Eskelin
Published by Designer Music, Honest and Popular Songs

“Open Up The Heavens” recorded by Meredith Andrews
Written by Stu Garrard, Jason Ingram
Published by Open Hands Music, Sony/ATV Timber Publishing, Stugio Music Publishing

“People Like Me” recorded by Mikeschair
Written by Michael Grayson, Jeff Pardo
Published by Curb Congregation Songs, Da Bears Da Bears Da Bears Music, Meaux Jeaux Music, Strength to Shout Publishing

“Pushing Back The Dark” recorded by Josh Wilson
Written by Josh Wilson
Published by Meaux Jeaux Music, Rock and a Harding Place

“Radical” recorded by Disciple
Written by Kevin Young
Published by Disciple Rocks Publishing

“Ready Set Go” recorded by Royal Tailor feat. Capital Kings
Written by Jeff Pardo, Cole Walowac
Published by Da Bears Da Bears Da Bears Music, Meaux Jeaux Music, Songs of Third Base, Universal Music – Brentwood Benson

“Satisfied” recorded by About A Mile
Written by Casey Brown, Jonathan Smith
Published by Not Just Another Song Publishing, Sony/ATV Timber Publishing

“Say Amen” recorded by Finding Favour
Written by Michael Farren
Published by Farren Love and War Publishing, Wordspring Music

“Sovereign Over Us” recorded by Michael W. Smith
Written by Jack Mooring
Published by Meaux Jeaux Music

“Start A Fire” recorded by Unspoken
Written by Seth Mosley
Published by 2 Hour Songs, CentricSongs

“The Broken Beautiful” recorded by Ellie Holcomb
Written by Matt Armstrong
Published by FOTS Music, Universal Music – Brentwood Benson, Countless Wonder Publishing

“The One I’m Running To” recorded by 7eventh Time Down
Written by Cliff Williams, Ian Eskelin, Mikey Howard
Published by Aevinesaint Music, Early Service Music, Love Journey Music, Moms Like Us Too, Wordspring Music

“The River” recorded by Decyfer Down
Written by Chris Clonts, Brandon Mills, Joshua Oliver
Published by chrisclontspublishing, Rythmic Publishing, Sobx Music

“Today Is Beautiful” recorded by David Dunn
Written by Sam Tinnesz
Published by Shivel Songs

“Unashamed Of You” recorded by Chris August
Written by Ian Eskelin
Published by Early Service Music, Wordspring Music

“VIP” recorded by Manic Drive feat. Manwell
Written by Michael Cavallo, Shawn Cavallo
Published by Cavallo Publishing, L4M3 Publishing

“We Are The Brave” recorded by Veridia
Written by Brandon Brown, Ian Eskelin, Deena Jakoub
Published by Early Service Music, Wordspring Music

“Where You Belong” recorded by Deep Space Network
Written by Tyler Northrup, Aaron Rayford, Brandon Weadon, Tim Wirtala
Published by MAG Family Publishing

“Who Is Like Our God” recorded by Laura Story
Written by Jason Ingram
Published by Open Hands Music, Sony/ATV Timber Publishing

“With Every Act Of Love” recorded by Jason Gray
Written by Jason Ingram
Published by Open Hands Music, Sony/ATV Timber Publishing

“You Carry Me” recorded Moriah Peters
Written by Jeff Pardo
Published by Da Bears Da Bears Da Bears Music, Meaux Jeaux Music

“You Won’t Let Go” recorded by Michael W. Smith
Written by Seth Mosley
Published by 2 Hour Songs, CentricSongs

Songwriter Equity Act To Get Second Introduction in Washington, D.C.

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NSAI Legislative Co-Chair, songwriter Roger Brown and Senator Orrin Hatch (UT).

NSAI Legislative Co-Chair, songwriter Roger Brown and Senator Orrin Hatch (UT).

The Songwriter Equity Act (SEA), legislation that aims to change the process that sets royalty rates for American songwriters, will be re-introduced this afternoon (March 4) in Washington, D.C.

“This is important legislation that addresses the evidence that the Copyright Royalty Board and ASCAP and BMI’s Rate Court judges can consider when setting royalty payments for songwriters,” said Nashville Songwriters Association President (NSAI) Lee Thomas Miller.

SEA will be re-introduced today after a new session of Congress convened last month. NSAI will be in Washington, D.C., today for introduction of the bill in the U.S. Senate by Sen. Orrin Hatch (UT) and Sheldon Whitehouse (RI) and in the U.S. House of Representatives by Reps. Doug Collins (GA) and Hakeem Jeffries (NY). A number of Senators and House Members are co-sponsors of the legislation including Senators Lamar Alexander and Bob Corker of Tennessee and House members Marsha Blackburn, Steve Cohen, Jim Cooper and Phil Roe.

“Rate-setting procedures that govern songwriter royalties were adopted by the Federal government in 1909 and 1941,” said NSAI Executive Director Bart Herbison. “Antiquated processes that are more than a century old cannot possibly compensate songwriters fairly in today’s digital music environment. We want to thank all of the supporters of this important bill as we strive to bring fair marketplace compensation to songwriters and composers.”

Songwriter Roger Cook, NSAI Executive Director Bart Herbison and Tennessee Senator Lamar Alexander.

Songwriter Roger Cook, NSAI Executive Director Bart Herbison and Tennessee Senator Lamar Alexander.

ASCAP Appoints Brian Roberts As New EVP & COO

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BrianRoberts

Brian Roberts

ASCAP, the American Society of Composers Authors and Publishers, has appointed music industry veteran Brian Roberts as the organization’s Executive Vice President & Chief Operating Officer, reporting to ASCAP CEO Elizabeth Matthews.

Roberts was most recently Executive VP, Corporate Strategy & Operations at Warner Music Group. In his new post at ASCAP, Roberts will be responsible for the royalty payment system and will oversee ASCAP’s worldwide infrastructure. Roberts will assume his new position on March 30.

Matthews says, “ASCAP is embarking upon a new era of technology and transformation in order to continue to provide first in class services at the lowest possible cost to all of our members and licensing partners. Brian’s extensive experience in the music sector and his impressive accomplishments in leading innovative infrastructure changes to support new strategic initiatives make him the perfect candidate to run ASCAP’s operations today. Brian also shares my passion for music and the need to protect the value of the creative works of our members. We look forward to having his expertise as part of ASCAP’s new executive management team.”

Roberts joined the Warner Music Group family in 2007 as Senior VP & CFO of Warner/Chappell Music with prior stints at BMG Music Publishing, Zomba Music Publishing, EMI Publishing and Ernst & Young.

Roberts adds,“I am excited to join Beth and her team at ASCAP. I believe that ASCAP is at the center of driving core change in the music industry which will benefit songwriters, composers, music publishers, licensees and music fans alike.”

ASCAP Reports More Than $1 Billion in Revenues in 2014

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ASCAP logo 2015The American Society of Composers, Authors and Publishers (ASCAP) reports revenues of more than $1 billion for calendar year 2014, according to their recently released financial statement. ASCAP also delivered royalty distributions of over $883 million to its songwriter, composer and music publisher members, up $32.3 million, a nearly 4 percent increase from 2013.

According to ASCAP, the organization is the first PRO to earn revenues of more than $1 billion in a year.

ASCAP’s number of musical performances captured, identified, matched and processed for payment doubled from $250 billion in 2013 to $500 billion in 2014.

Contributing to the tally were songs recorded by Beyoncé, Beck, Jay Z, St. Vincent, Kendrick Lamar, Max Martin, Rubén Blades, Katy Perry, Iggy Azalea, Romeo Santos, Jessie J, Aloe Blacc, Sia, Meghan Trainor, Lady Antebellum, Lorde, Dr. Luke, Diplo, Calvin Harris and Brandy Clark. 

ASCAP dramatically expanded its surveys of the most significant digital streaming services in 2014, including Apple iRadio, Pandora, Rhapsody and Spotify. The number of writers paid for performances on these services increased by 9 times from 2013. ASCAP identified more than 1.3 million unique works played on those services, 30 times more than in 2013.

Over 40,000 new members joined ASCAP in 2014, a 33 percent increase as compared to 2013. Among those new to ASCAP are CCM artist Lecrae, Vinylz, Andrew Bird, Becky G, Lorenzo Mendez of Original Banda El Limón, composers Jóhann Jóhannsson, Gustavo Santaolalla and Gustavo Dudamel.

ASCAP President Paul Williams commented, “Our songwriter and composer members depend on ASCAP to earn a living and it is our job to advocate and protect their rights across all media. We maintain a strong presence in Washington, D.C. to ensure they are fairly compensated for their creative work, which is the engine driving the entire industry. I am very gratified that we were able to deliver such strong financial results for the talented women and men who call ASCAP home. From our point of view, if we can ensure fair market rates for our members by working with the Department of Justice to modernize our outdated Consent Decree, then everyone wins—music creators, licensees and fans—because the value of collective licensing is that strong.”

“ASCAP had an incredibly successful 2014. We worked extremely hard and continually innovated in order to maximize the financial opportunities for our members in the face of an evolving and increasingly competitive global landscape. We implemented new revenue growth strategies and productivity improvement initiatives in order to deliver the best collective licensing value proposition at the lowest possible cost for all stakeholders,” said ASCAP CEO Elizabeth Matthews. “Our 2014 financial results clearly demonstrate that collective licensing is the most efficient licensing model available to creators and music licensees alike. The collective can accommodate big data growth of extreme scale at the lowest cost while also providing access to a broad, diverse and high quality repertory of music.”