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Author: Breffni Banks

Adoption in Plenary of European Parliament’s Own-Initiative Report on the Evaluation of the Geo-Blocking Regulation

Although this was an own-initiative report from the Parliament and therefore without any legislative impact, it has a particular political importance, since the European Commission is due to prepare its review on the Geo-blocking Regulation in 2025, and it has been asking the AV sector to bring new solutions, projects or ideas that would lead to, (where possible), less or no geo-blocking of  AV content, and indicating that in absence of such measures the Commission would need to take legislative action in the review process.   The report adopted by the leading IMCO Committee asked for the prohibition of geo-blocking in the field of the AV sector and the inclusion of AV services into the scope of the regulation at the forthcoming review.  However, following an extensive campaign organised by the AV sector this provision was reversed at the Plenary vote, and the final text no longer asks for such an inclusion, even noting that geo-blocking is needed to ensure cultural diversity and the business model in the AV sector.

Note that the various committees already had an understanding not to extend the scope to the music sector since all music content is already available across the EU without any issues, and any remaining geo-blocking practices, where they exist, serve to consumers’ advantage. This was also the finding of the dedicated expert study commissioned by the Commission several years ago, to which GESAC contributed.  GESAC also worked extensively at the committee level to keep music out of the scope of other music rightsholders and to support the efforts of the AV sector.

Political Agreement on the European Media Freedom Act

The provisional agreement reached in the “trialogue” at the end of last year needs to be endorsed by the Council and the Parliament once the text has been finalised at a technical level.  It will then be formally adopted by both institutions hopefully in spring of this year. It will bring a legal framework for all types of AV or print media companies – a first in EU legislation. While aiming to ensure media freedom and pluralism, it also raises some questions regarding intervention in journalistic and editorial decisions of media companies at the EU level. While the political agreement is achieved, several issues are still to be finalised at a technical level, and stakeholders in the field have mixed views on the outcome.

Line Up for the National Concert Hall’s ‘Tradition Now’ Multi-Room Festival Confirmed with Performances by John Francis Flynn, Bláth na hÓige, Ruth Clinton, Niamh Bury, Thomas McCarthy, Edwina Guckian and more

  • Tradition Now’ Festival to feature: John Francis Flynn, Bláth na hÓige, Ruth Clinton, Niamh Bury, Thomas McCarthy, Edwina Guckian and more
  • National Concert Hall – multi-room concerts and informal sessions  
  • Friday 3 and Saturday 4 May 2024   
  • Tickets: Friday Concerts €27 | Saturday Concerts €30 | Limited Weekend Ticket for All Concerts €50 
  • On Sale Wed 28 February 10amNCH Box Office 01 4170000 / nch.ie

Today the National Concert Hall is pleased to announce the 13th instalment of its Tradition Now Festival, presented in association with the Arts Council. An immensely popular multi-room bi-annual event celebrating the continual evolution of traditional music whilst honouring its roots, this summer’s Tradition Now Festival features main stage performances by 2024 RTE Folk Award nominees Bláth na hÓige featuring some of Irish best sean-nós singers, together with singer Ruth Clinton who presents songs in the traditional or folk idiom from her new book This Fearless Maid II on Friday 3rd May on the main stage. The evening will see additional concerts taking place in more intimate spaces throughout the NCH featuring artists: English progressive songwriter Jim Ghedi, Passing on the Songs with folk singer and collector Thomas McCarthy and sean-nós dancer Edwina Guckian.

On Saturday 4th celebrated folk singer John Francis Flynn takes to the main stage with additional concerts in smaller venues throughout NCH by artists to include one of the most exciting new voices on the Irish folk scene: Niamh Bury; multi-instrumentalist and singer who has carved out a place as a unique voice in American music Cahalen Morrison, and Dublin based singer and fiddle player Helen Diamond.  Both evenings will be complimented by the NCH’s John Field Room Sessions, creating a relaxed informal atmosphere to enjoy.

Garnering a growing audience since its inception, Tradition Now has developed into an established series showcasing innovation and diversity in traditional music in all its forms while celebrating and championing its roots, heritage and traditions.

Robert Read, CEO National Concert Hall: “Supporting innovation and exploration in traditional music and the arts plays an important part in our collective shared understanding of Irish identity, heritage and legacy through music, dance and storytelling. We are pleased to partner with The Arts Council in bringing together a diverse and talented line-up for this iteration of Tradition Now which showcases and celebrates the breath of talent in the traditional music of today while looking to the future”.

Maureen Kennelly, Director of the Arts Council of Ireland: “The traditional music, song and dance of Ireland continues its exciting journey of exploration, collaboration and innovation, while remaining true to its grassroots origins. The traditional arts is a living tradition, with unique regional styles and accents – it has influenced other traditions and has been itself influenced over time. We are delighted that this partnership with the NCH continues to bring rich & diverse traditional music to new audiences.”

ABOUT THE ARTISTS

Dublin-based folk singer and multi-instrumentalist John Francis Flynn’s latest album Look Over The Wall, See The Sky has just been nominated for the RTÉ Folk Award Album of the Year. His debut album I Would Not Live Always won great critical acclaim, including being The Guardian and MOJO magazine’s Folk Album Of The Year. He won Best Singer and Best Emerging Artist at the 2021 RTÉ Folk Awards.  While supporting Lankum on their 2019 UK tour he caught the eye of Geoff Travis and Jeannette Lee who signed him to Rough Trade imprint label, River Lea. He is also a member of celebrated traditional group Skipper’s Alley.

Bláth na hÓige is an exciting new song collaboration featuring some of Ireland’s best young singers. Under the musical direction of Síle Denvir and Colm Mac an Iomaire, the Bláth na hÓige ensemble showcases the multi-faceted talents of Caoimhe and Séamus Ó Flatharta, Méabh Ní Bheaglaoich, Cathal Ó Curráin, Megan Nic Ruairí, Piaras Ó Lorcáin and Máire and Étáin Ní Churraoin.  They are nominated for Best Folk Album and Best Folk Group in the 2024 RTE Folk Awards.

Ruth Clinton is an artist and musician. She is a member of traditional singing group Landless, co-founder of the Sacred Harp Singers in Dublin and also works as a collaborative duo with artist Niamh Moriarty. For Tradition Now Ruth and Cormac MacDiarmada (Lankum, Poor Creature), Sinead Lynch (Landless) and Consuelo Breschi (Varo, Landless) will present songs from her new book, This Fearless Maid II. Following on from the first volume, published in 2016, this collection presents songs in a traditional or folk idiom, which challenge patriarchal power and feature women in active roles.

Tradition Now sees Studio performances by Thomas McCarthy and Edwina Guckian on Friday 3 May and Niamh Bury and Cahalen Morrison on Saturday 4 May. Thomas’ concert, titled Passing on the Songs sees the renowned Traveller singer explore the tradition of passing music and song onto the next generations and Edwina will bring her revered dancing – which has seen her share the stage with Altan, De Danann, Dervish and more – to the Studio. The following night, Dublin musician Niamh Bury brings songs from her highly-anticipated new album Yellow Roses to the NCH after a sure-to-be stellar set from Northern New Mexico’s finest export Cahalen Morrison, who is equally at home on guitar, banjo, mandolin, singing three-part harmony or unaccompanied.

Meanwhile the Kevin Barry Recital Room plays host to Jim Ghedi on Friday and Helen Diamond on Saturday. Jim hails from Sheffield and although clearly well versed in the history of folk music, he stands out as a potential torch bearer for a new generation of respectful yet experimental performers. Helen is a singer and fiddle player from Dublin, her playing is influenced most strongly by the music of South-West Donegal, but also takes inspiration from old-time American music.

The John Field Room plays host to the beloved John Field Room Sessions over the two nights.

Tradition Now will continue in the Autumn 2024 at the National Concert Hall. Details to be announced later in the year.

TRADITION NOW – NATIONAL CONCERT HALL

Friday 3 May 

Main Stage:  7.30pm – 8.30pm Ruth Clinton | 9pm -10pm Bláth na hÓige   

The Studio: 7pm Edwina Guckian | 9.30pm Thomas McCarthyPassing the Songs

Kevin Barry Recital Room: 9.15pm Jim Ghedi 

Saturday 4 May  

Main Stage: 7.30pm -8.45pm John Francis Flynn

The Studio: 7pm Cahalen Morrison | 9.30pm Niamh Bury

Kevin Barry Recital Room: 9.15pm Helen Diamond 

Ticket Information: 

Friday 3rd May – Day Ticket €27 | Saturday 4th May – Day Ticket €30

Limited Weekend Ticket Available (for 3rd & 4th May) €50 – entitles the ticket holder entry to all Tradition Now concerts.

10% Discount for Friends of NCH and Groups of 10 or more.

www.nch.ie

IMRO Job Vacancy | Distribution and Member Services Executive

Job Description

IMRO represents songwriters’ composers and music publishers who bring varying backgrounds, ideas, and points of view to their creativity on behalf of all music fans.

Our diverse perspectives are enriched by many dimensions, including race, ethnicity, gender, age, physical and mental ability, sexual orientation, religious beliefs, culture, language, and education, as well as professional and life experience.

We welcome job applicants from all communities, cultivating a culture of inclusion for employees and respecting individual strengths, views and experiences.

Our differences make us a better team – we make better decisions, drive innovation, and deliver better business results.

Purpose of Job

To contribute to the provision of an efficient distribution and membership service by carrying out a variety of clerical/administrative duties with a strong emphasis on data entry, data manipulation and data processing.

Principal Accountabilities

  • Collecting and preparing data to aid in the distribution of mechanical and performance royalties.
  • Entering data into electronic form.
  • Processing general distribution data (both performance & mechanical) in line with monthly and quarterly distribution schedule.
  • Matching music titles against repertoire databases.
  • Undertake any other duty, which may reasonably be allocated by the team leader.
  • Distribution executives are also required to cover reception/switch as part of the duty relief roster.

Knowledge & Experience

  • The holder candidate should have good keyboard skills, strong organisational skills and possess keen attention to detail.
  • Familiarity with Microsoft Excel and Microsoft Access is desirable.
  • A good general knowledge of music would also be of benefit.

Application

 Please send a CV and covering letter outlining how you meet the criteria for the role to hr@nullimro.ie

Deadline for applications is 5pm Wednesday, 28th February 2024.

Salary: On Request

Term: 1 Year Fixed Term Contract

AI Act definitive text endorsed by EU Member States

On February 2nd, 2024 the Committee of Permanent Representatives in the European Union formed by the Ambassadors from the 27 EU Member States, adopted the definitive proposal for the AI Act.

Background

A compromise position was reached in December between the European Parliament, the Commission and the Council, (trilogue) but negotiations for a definitive text were still ongoing up to last week as some of the leading countries in the EU, notably, France (though also Germany and Italy also weighed in at one point), considered the political agreement reached in December to be too restrictive and expressed support for lower transparency requirements (e.g. non-binding codes of conduct) in the AI Act to make training AI models easier for European AI companies.  This position raised serious concerns amongst rightsholders, including GESAC, which advocated for the inclusion of transparency obligations for providers of general-purpose AI models. France dropped its reservations just before the COREPER meeting while issuing some conditions, including that the regulation balances transparency and protection of trade secrets and doesn’t make obligations overburdening for companies.  Germany also said that it would be scrutinising implementation to ensure that it met their requirements.

What it entails

One of the benchmarks of the AI Act is that AI systems must comply with EU copyright laws, with the final agreement stating that providers of general purpose AI models will need “to put in place a policy to respect Union copyright law, as well as make publicly available a sufficiently detailed summary about the content used for training of the general purpose AI model, based on a template provided by the AI Office” without prejudice of trade secrets. The text also foresees a disclosure requirement on providers to “embed technical solutions that enable marking in a machine-readable format and detection that the output has been generated or manipulated by an AI system and not a human” (Recital 70 a).

The rules for general-purpose AI models (GPAI), were introduced into the text last year in response to the rise of foundation models, such as large language models (“LLMs”). The specific obligations for these models can be grouped into the following four categories – with additional obligations for such general-purpose AI models that entail systemic risks:

  • drawing up and keeping up-to-date technical documentation of the model, including training and testing process and evaluation results.
  • Provide transparency to downstream system providers looking to integrate the model into their own AI system.
  • putting in place a policy for compliance with copyright law.
  • publishing a detailed summary of the training data used in the model’s development.

GPAI providers with systemic risk must also perform model evaluations, implement risk assessment and mitigation measures, maintain incident response and reporting procedures, and ensure an adequate level of cybersecurity protection. The Commission may adopt delegated acts to amend the thresholds.   The AI Act’s rules target general-purpose “models” that underpin AI tools — not the customer-facing apps, but the software architecture integrated into different providers’ products.  Developers of these models — such as those powering ChatGPT or Google’s Bard — will have to keep detailed technical documentation, help the companies or people deploying their models understand the tools’ functionality and limits, provide a summary of the copyrighted material (such as texts or images) used to train the models; and cooperate with the European Commission and the national enforcing authorities when it comes to compliance with the rulebook.

Some general-purpose models are labelled a “systemic risk” thanks to their power and reach – e.g., an ability to precipitate catastrophic events. Developers of these systems will also have to put mitigation strategies in place and pass on details of any incident to the Commission’s new “AI Office”, lined up to police the rules.

Role of Members States and the Commission

Member States hold a key role in applying and enforcing the AI Act. Each Member State must designate one or more national competent authorities to supervise the application and implementation of the AI Act, as well as carry out market surveillance activities.  Each Member State is expected to designate one national representative to represent the country in the soon-to-be-established European Artificial Intelligence Board.

In addition, the Commission will establish a new European AI Office within the Commission, which will supervise general-purpose AI models, cooperate with the European Artificial Intelligence Board, and be supported by a scientific panel of independent experts.

The new entity will be primarily responsible for supervising compliance by providers of GPAI systems while also playing a supporting role in other aspects, such as the enforcement of the rules on AI systems by national authorities.

Rightsholders organisations in Brussels (including GESAC) expect to have a role to play in inputting to the European AI Office.

Penalties and enforcement

The AI Act comes along with strong enforcement powers and potentially high penalties. Penalties must be effective, proportionate, and dissuasive and can significantly impact businesses. They range from €7.5 to €35m or 1.5 % to 7% of the global annual turnover (whichever is higher), depending on the severity of the infringement.

Next steps in adoption and timeline

Following the endorsement of Feb 2nd, the European Parliament has scheduled meetings of the Committees on Civil Liberties, Justice and Home Affairs and Internal Market on 14 and 15 February 2024 in preparation for the plenary vote of the full Parliament. This will be followed by a final legal-linguistic revision by both co-legislators, with lawyers and linguists cleaning up the text. The formal adoption by Council and Parliament is expected at the end of February or the beginning of March. Once approved, the EU’s AI Act will become the world’s first treaty on AI, setting the standard for AI regulatory frameworks globally.

Following its publication, it can be expected that the AI Act (as now drafted) will enter into force before the summer break. Some provisions of the AI Act (for certain high-risk systems) will become mandatory six months later, i.e. well before the end of the year. Most other provisions will then gradually be applied in the course of 2025 and 2026.

CMAT & Jazzy Among Nominations for Brit Awards 2024

Anticipation for the 2024 Brit Awards has reached new heights, with the official announcement of this year’s nominees. Notably, artists CMAT and Jazzy have secured nominations, representing Ireland on the international stage.

CMAT: Nominated for International Artist of the Year

 

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A post shared by cmat (@cmatbaby)

CMAT is contending for the title of International Artist of the Year. The category boasts an impressive lineup, including Asake, Burna Boy, Caroline Polachek, Kylie Minogue, Lana Del Rey, Miley Cyrus, Olivia Rodrigo, SZA, and Taylor Swift.

Jazzy: Recognition for International Song of the Year

 

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A post shared by Jazzy (@jazzyofficial__)

Jazzy has earned a nomination for International Song of the Year with her track “Giving Me.” Other nominees in this category include artists such as Billie Eilish, Doja Cat, Miley Cyrus, Olivia Rodrigo, and SZA.

The Brit Awards ceremony, set to take place in March, promises an unforgettable evening dedicated to honoring the pinnacle of achievements in the music industry. The nominations for CMAT and Jazzy not only recognise their individual accomplishments but also spotlight the thriving talent emerging from Ireland.

For additional details on the Brit Awards and a comprehensive list of nominees, visit brits.co.uk

European Parliament Adopts Resolution on Virtual Worlds

On January 17th, 2024 the European Parliament adopted a resolution on the “Policy implications of the development of virtual worlds” which aims to set a framework for the rapid evolution of virtual worlds and calls on the Commission to propose guidelines and good practices clarifying the legal obligations and responsibilities of the different stakeholders involved.

Co-rapporteurs Iban Garcia del Blanco and Axel Voss text asserts that the EU’s legal framework for the protection of intellectual and industrial property rights, including copyrights, trademarks, patents, designs, and trade secrets fully applies to virtual worlds, while noting that the development of virtual worlds poses new challenges when it comes to IP enforcement and identification of infringers, and to the issues concerning the conflict-of-law rules on applicable law and jurisdiction.

The JURI committee’s intention is not to address all the points but to highlight certain principles to protect the rights (IP, patents, copyright) and see how to use them in the metaverse.

The Co-rapporteurs based their work on what was already done at EU level, such as the recent European Commission’s Call for Evidence on “An EU initiative on virtual worlds” (May 2023) to which GESAC answered. The secretariat has been in close contact with the rapporteurs and political advisors to ensure that its main priorities were included. The report underlines the applicability of liability rules to cover the uploading of user-generated content but asserts the need for further clarification on how existing rules asserted in the DSA and Copyright Directive should apply and be enforced to online content-sharing services that make content available in virtual worlds.

IMRO Live Music Venue of the Year Awards 2024

The 2024 IMRO Live Music Venue Awards will be held on Tuesday, March 5th, at The Sugar Club in Dublin. Stay tuned for the live performer announcement!

Limited guest list places are available for the event. If you’d like to attend, please email events@nullimro.ie

These awards have become a prestigious recognition in the Irish music calendar, celebrating excellence in live music entertainment within the entertainment and hospitality sectors.

The purpose of these awards is to acknowledge and reward venues that stand out in providing superior live music entertainment in Ireland, focusing on various aspects such as general venue ambience, staging, sound/lighting, gender balance & diversity of music programmed, professionalism in dealing with performers, promotion/PR activities, and accessibility.

Qualifying venues include pubs, hotels, arts centers, theatres, purpose-built live music venues, and more. Additionally, IMRO members can nominate their favorite Irish music festivals and venue production teams.

IMRO Job Vacancy | Distribution Executive

IMRO represents songwriters’ composers and music publishers who bring varying backgrounds, ideas, and points of view to their creativity on behalf of all music fans.

Our diverse perspectives are enriched by many dimensions, including race, ethnicity, gender, age, physical and mental ability, sexual orientation, religious beliefs, culture, language, and education, as well as professional and life experience.

We welcome job applicants from all communities, cultivating a culture of inclusion for employees and respecting individual strengths, views and experiences.

Our differences make us a better team – we make better decisions, drive innovation, and deliver better business results.

1. Purpose of Job

To contribute to the provision of an efficient distribution and membership service by carrying out a variety of clerical/administrative duties with a strong emphasis on data entry, data manipulation and data processing.

2. Job Context and Content

The job holder is one of a team of six Executives who are signed to the Distribution Team.

3. Principal Accountabilities

  • Collecting and preparing data to aid in the distribution of mechanical and performance royalties.
  • Entering data into electronic form in line with mechanical licence requirements.
  • Processing general distribution data (both performance & mechanical) in line with monthly and quarterly distribution schedule.
  • Matching music titles against repertoire databases.
  • Undertake any other duty, which may reasonably be allocated by the team leader.
  • Distribution executives are also required to cover reception/switch as part of the duty relief roster.

4. Desired Knowledge and Experience

  • The holder candidate should have good keyboard skills, strong organisational skills and possess keen attention to detail.
  • Familiarity with Microsoft Excel and Microsoft Access is desirable.
  • A good general knowledge of music would also be of benefit.

6. Application

Please send a cv and cover letter (in a word document) outlining how you meet the criteria for the role to hr@nullimro.ie.

Deadline for applications is 5.00pm on Wednesday 31st January 2024.

IMRO Job Vacancy | Credit Control Manager

IMRO represents songwriters’ composers and music publishers who bring varying backgrounds, ideas, and points of view to their creativity on behalf of all music fans.

Our diverse perspectives are enriched by many dimensions, including race, ethnicity, gender, age, physical and mental ability, sexual orientation, religious beliefs, culture, language, and education, as well as professional and life experience.

We welcome job applicants from all communities, cultivating a culture of inclusion for employees and respecting individual strengths, views and experiences.

Our differences make us a better team – we make better decisions, drive innovation, and deliver better business results.

1. Purpose of Job

This Credit Control Dept. contributes to the company’s overall operation by helping to carry out the collection of royalties for the Irish Music Rights Organisation (IMRO). The role incorporates credit control for IMRO and PPI royalties.

The position is part of the Credit Control Department of IMRO and reports to the Head of Legal and Collections.

The Credit Control Manager position plays a vital role in the Department. The position works with all staff within the Department to maximize cash collections for both IMRO and IMRO as an agent of PPI.

2. Job Context and Content

  • Meet monthly cash targets.
  • Responsible for team results, as measured through established quality service standards.
  • Responsible for managing escalations from the team.
  • Responsible for leading, coaching, and developing employees, ensuring high employee commitment and capability through focused collection routines.
  • Responsible for creating a constructive team environment with an open communication culture and clear team goals.
  • Evaluates/assess team member performance on a periodic and annual basis.
  • Assist with constructing an effective credit control management framework.
  • Support new initiatives and demonstrate a capability to manage and lead continuous improvement projects.
  • Responsible for collections processes and activities.

3. Principal Accountabilities

  • Monitoring progress on small, medium, and large accounts and instructing the Legal Department to intervene in appropriate cases.
  • Day-to-day management of the credit control team to ensure that collections targets are met.
  • Monitoring Credit Control team’s work, including call auditing, auditing notes and tasks.
  • Constant review of credit control processes and procedures.
  • Regular contact with and reporting to Head of Legal & Collections.
  • Monitoring the collections process daily.
  • Collection of Broadcast, Live, Online and Public Performance revenues.
  • Hand-on management of key accounts, including contacting customers by phone, letter, and email and dealing with customer queries, particularly for large or difficult customers.
  • Ensuring an efficient and effective cash collection process is in place, resulting in cash targets being met, reduced provision levels, low levels of debt write-off, and reduced debt turn, all monitored via KPI reports from MS Dynamics CRM.
  • The setting of monthly bad debt provision levels.
  • Preparation of bad debt provision reports.
  • Identification of problematic accounts and data extraction for the purpose of handling mail merges.
  • Identification of debt for write-off following the Board-approved debt write-off policy.
  • Monitoring and reporting on cash collections versus budget daily/weekly/monthly/quarterly – reporting to Head of Legal and Collections and Senior Management.
  • Identification, preparation and transfer from Credit Control of debt collection cases for legal action.
  • Regular contact with the PPI team to update and work on cases.
  • Regular communication with Licensing Team to review processes and high-profile accounts.
  • Carrying out duties following the IMRO Customer Charter.
  • Undertaking such tasks as may be assigned by management from time to time.

4. Key Attributes

  • Excellent communication skills required, both internally and externally, using telephone or email to suit the circumstances.
  • Organisational skills, with high standards of accuracy and attention to detail.
  • Analytical skills to analyze data, gain insight and act.
  • Adaptable and flexible to change with a willingness to learn and challenge in order to drive continuous improvement.

5. Desired Knowledge and Experience

  • Minimum 5 years’ experience in credit control management role
  • Experience managing a credit team.
  • Debt Collection skills to manage the debt collection process.
  • Relevant third-level qualification in finance/business administration, preferably credit management related.
  • Proficient in MS Office Suite with advanced Excel skills.

6. Application

Please send a cv and cover letter (in a word document) outlining how you meet the criteria for the role to hr@nullimro.ie.

Deadline for applications is 5.00pm on Monday 29th January 2024.

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