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Author: Breffni Banks

GESAC welcomes the report on the situation of authors in the music streaming market adopted in CULT Committee

Brussels, 28 November 2023 – GESAC welcomes the CULT Committee’s adoption of the initiative report on “cultural diversity and the conditions for authors in the European music streaming market” prepared by MEP Ibán García del Blanco, which rightly highlights the significant problems faced by authors and composers in the music streaming market and calls for EU policy actions to correct the existing imbalances and ensure the market’s sustainability.

The report recognises the key role of creators, who are “at the very origin of the music sector value chain and the first and foremost creative driving force of all music distributed on streaming platforms” and “recalls the need to ensure the value of authors’ rights, regardless of music streaming services’ offers”. It denounces the unfair practices, fraud, and manipulation that “negatively affect the sector, especially authors and performers, and may prevent it from flourishing”. The report “urges the stakeholders to take all necessary steps to overcome the current imbalances and ask the Commission to monitor and encourage progress in this regard, and to consider appropriate policy proposals, should voluntary stakeholders initiatives fail to produce meaningful solutions.”

Moreover, the report includes a clear call for legislative initiatives to ensure the transparency of the algorithms and recommendation tools used by streaming services, and the promotion of cultural diversity in this market.

Véronique Desbrosses said: “The music streaming market has become the main way in which people access music and it is high time to make it a decent and sustainable source of revenue for the authors and composers who are at the core of its success. Authors are asking for the value of music to be improved in the streaming market, and for their key role to be recognised by guaranteeing them a fair share of this value, thus contributing to a sustainable ecosystem. Moreover, EU rules are needed to ensure the transparency of algorithms and the visibility, accessibility and prominence of European works, especially considering the proliferation of AI-generated content and the wrongful manipulation of streams. We welcome the report adopted by the CULT Committee which recognises those points and we would like to thank all the MEPs who worked on this issue, especially the Rapporteur MEP Ibán García del Blanco for all his efforts.”

About GESAC

GESAC groups 32 European authors’ societies (CMOs) and represents as such more than one million authors from various artistic fields, including music, audiovisual, visual, literary and dramatic arts.

Borderline launches this February 2024 presented by Singular Artists 15-16 February 2024

Featuring across the two-day festival (A-Z listed)

Antony Szmierek

Cardinals

EFÉ 

Enola Gay

Fat Dog

Kai Bosch

Lambrini Girls

Maruja

Miso Extra

Mount Palomar

Nxdia

Sam Akpro

Sans Soucis

Spider

University

Thursday tickets | Friday tickets 

Two-day ticket available 

Pre-sale tickets are available from Tuesday 28th Nov at 9 am by signing up to the Singular Artists mailing list https://bit.ly/SingularSign-Up 

General tickets will go on sale Friday, 1st December at 9 am LINK

singular artists proudly present the new showcase festival ‘Borderline’, taking place in The Workman’s Club and Cellar on Thursday, 15th and Friday 16th February ‘24. 

Aiming to shine a light on emerging talent breaking through: focusing on left-of-centre, forward-facing artists that are pushing boundaries. Borderline will give each artist a new platform to showcase their music to an Irish audience. 

Borderline is not just an event; it’s a celebration of creativity, pushing the boundaries of artistic expression and introducing audiences to the vanguard of the international and Irish music scenes.

This intimate two-day showcase spanning across two stages, promises to be a sonically engaging experience featuring a carefully curated lineup of 15 exceptional artists (up to 8 per day) set to grace both the Main Room and the Cellar. 

Across the two nights at The Workman’s Club, Borderline will host Antony Szmierek,  Cardinals (So Young), EFÉ, Enola Gay (Modern Sky), Fat Dog (Domino Records), Kai Bosch (LAB records), Lambrini Girls (Big Scary Monsters), Maruja, Miso Extra (Transgressive), Mount Palomar, Nxdia, Sam Akpro (ANTI), Sans Soucis (Decca), Spider (AWAL) and University (Transgressive).

Borderline is proudly presented by singular artists with thanks to their partners Jameson, IMRO, Blackstar Amplification and MusicMaker. 

Speaking about the festival, founder Simon Merriman says: 

“We’re delighted to be working with some of the most exciting new artists currently breaking through in the industry. Over the past 12 months, these artists have made significant waves across Europe and beyond and we feel privileged to introduce them to an Irish audience, many for the first time.

We know that it’s vital to support new music in Ireland and Borderline is dedicated to providing these artists with a platform to connect with new fans. The appetite and desire for new music in Ireland is there and we’re excited to be part of it. Catch you down the front!  

Keith Johnson, Director of Marketing and Memberships says; “IMRO is delighted to support Borderline, an exciting new festival that amplifies the best of emerging talent. Beyond the music, it’s a dynamic platform fostering networking, collaboration, and paving fresh avenues for artists to shine on the international stage. Join us in February in embracing the future of music at Borderline”.

Additional information and links:

IMRO Achieves ‘A Better Workplace’ Accreditation

IMRO is pleased to announce that it has been accredited with the ‘A Better Workplace’ certification, a testament to the organisation’s commitment to fostering a positive and inclusive work environment.

‘A Better Workplace’ is an organisation dedicated to recognising and accrediting workplaces that prioritise employee well-being, diversity, and a positive organisational culture. The accreditation is awarded to organisations that demonstrate a commitment to fostering an environment that empowers employees to thrive both personally and professionally.

The accreditation was awarded by Sinead Scott-Lennon, Founder and CEO of A Better Workplace, who expressed her enthusiasm for IMRO’s dedication to continuous improvement. “I am thrilled to award IMRO the ‘A Better Workplace’ accreditation. Since working with them in 2022, they have been extremely consistent in their efforts to become better across all areas of culture. They are committed to continually striving for a better workplace for their people, which makes them a wonderful place to work and engage with in business.”

This recognition underscores IMRO’s ongoing initiatives to create a workplace that prioritises the well-being and professional development of its employees. IMRO has demonstrated a commitment to fostering a positive culture that not only values equality, diversity and inclusion but also encourages innovation and collaboration among its team members.

Victor Finn, CEO of IMRO, expressed his gratitude for the accreditation, stating, “Receiving the ‘A Better Workplace’ accreditation is a significant milestone for IMRO. It validates the hard work and dedication of our team in creating an environment where everyone feels valued and supported. We are proud to be recognised for our commitment to continuous improvement and look forward to building on this success in the future.”

The ‘A Better Workplace’ accreditation serves as a mark of distinction, affirming IMRO’s position as a leader in creating a workplace that fosters employee engagement, professional growth, and overall well-being.

Learn more at www.abetter-workplace.com

EU Activities Update: Milestones in Legislation for Artists’ Working Conditions and Authors in the Streaming Market

Legislative initiative on the working conditions of artists adopted in the European Parliament (EP)

On November 21st 2023, the EP adopted a draft legislative initiative on an “EU framework for the social and professional situation of artists and workers in the cultural and creative sectors”, which highlights the precarious working conditions and uncertain legal status for artists and other professionals in the cultural and creative sectors in several European countries, and requests legislative tools to address the issue. The initiative flags several growing problems in the creative industry, including buy-out contracts, which, according to the text, can lead to “an abusive and coercive practice circumventing EU rules on fair remuneration” and confirm “deep power imbalances between contracting parties” and requests the Commission to assess the situation. The initiative also underlines the critical role of CMOs and “their global system” in “enabling creators to be remunerated fairly, including through the negotiation of tariffs with users, and in contributing to the promotion of cultural diversity and expression”.

Read more here.

European Parliament Culture Committee report on authors in the European streaming market

The European Parliament’s Culture Committee’s vote on “Cultural diversity and the conditions for authors in the European streaming market” a draft report led by MEP Ibán García del Blanco, has been adopted on Nov 26th. The Report defends the need for a sustainable ecosystem for authors, emphasising greater visibility and a more balanced distribution of royalties in the streaming market. It calls on the European Commission to propose a legal framework to ensure the visibility of European works, including the possibility of imposing quotas on European works on music streaming platforms and legal obligations to ensure the transparency of algorithms and content systems to prevent fraudulent and unfair streaming. The Report also refers to AI issues impacting the cultural industries, advocating for ethical use of AI in the music sector, maximum transparency in every step of the development, the need for setting an AI-generated label for AI-generated music, and the importance of ensuring that authors whose works have been used to train AI models are fairly remunerated.  More action has been taken by EU policymakers regarding the discoverability of European works, with the European Commission’s Directorate General for Education and Culture has launched a call for tender in August for a study on the discoverability of European works, with results expected by the end of 2024. The study will focus on the availability and accessibility of cultural content online and how content prioritisation practices, algorithm recommendations, and curation strategies influence exposure to cultural and linguistic diversity.

IMRO Celebrates Dolans Limerick as Recipient of the Best Music Pub Award at the Irish Pub Awards

IMRO is delighted to announce Dolan’s Limerick as the winner of the ‘Best Music Pub’ at this years’ Irish Pub Awards. This recognition is a testament to Dolans’ outstanding contribution to the Irish music scene and its commitment to providing an exceptional live music experience.

The Best Music Pub Award, sponsored by IMRO, acknowledges the crucial role that pubs play in fostering and promoting live music. Dolan’s has consistently demonstrated excellence in this regard, creating a vibrant and welcoming space for music enthusiasts and artists alike.

Dolan’s has become synonymous with top-tier live performances, showcasing a diverse range of musical genres and providing a platform for emerging talents. This award is a recognition not only of the venue’s commitment to musical excellence but also its role as a hub for fostering a sense of community through the shared love of music.

The Irish Pub Awards serve as a benchmark for excellence in the hospitality industry, and IMRO is thrilled to be part of this celebration of outstanding establishments.

AikJ Releases Latest Track ‘Petite Fleur’

AikJ possesses a unique perspective on R&B that encompasses everything from addictive funky grooves to soulful 90s-inspired croons, making it a great blend for the R&B genre. 

With AikJ’s music there is a distinct signature that emerges, ranging from a soulfully smoked-out sound to an enigmatically energetic beat. Taking inspiration from the likes of Labrinth, Timbaland, Miguel and many more, the music he makes is both edgy and eclectic.

With over a million streams across multiple digital service providers, cover spots on editorial playlists and millions of radio impacts on national and international radio stations such as SiriusXM, BBC Introducing, Amazing Radio USA and UK. And with a sync placement on ITVs ‘Maternal’ recently,  AikJ has just announced its brand new single ‘Petite Fleur’, which will be released on November 10th.

Speaking on the new single, AikJ comments:

‘’It can be hard to find the entity that feels like a completion of your being. It could manifest as a purpose or some long to find that in a person. Petite Fleur is that special little flower in your garden you spend the most time watering and taking care of. Awakens your spring and Brightens your summer, Protects your autumn and comforts your winter. It knows everything about you and you feel whole with it around.”

AikJ has been named one of the most promising artists to watch by many publications including The Irish Times, Wonderland Magazine, RedBull Music, Earmilk, District Magazine, and so on.

Follow AikJ:

Instagram | Twitter | Facebook | TikTok | Spotify | Apple Music

Kildare singer Megan O’Neill shares new song ‘All Those Yesterdays’

Named one of the Irish Examiner’s Ones to Watch, Irish Singer – Songwriter Megan O’Neill returns with a new collection of songs, a shares the first single All Those Yesterdays.

All Those Yesterdays compares the seasons of youth and adulthood. “When we’re young (in most cases), life is all about exploration, opportunities and looking ahead. We’re not quite as easily scarred and we don’t have the baggage of the past to carry around. During the season of adulthood, more worries set in, responsibilities can take over and the losses of loved ones usually become something we have to deal with. This season is more about goodbyes, reminiscing on old times and as much as we can be looking ahead, we also spend a lot of time looking back” says Megan.

Last year, O’Neill released an EP titled: Time (Thought you were on my side), featuring five songs written and recorded with producer Richey McCourt. This EP merges her folk, storytelling roots with more electronic elements and was stylistically somewhat different to previous material, highlighting O’Neill’s ability to successfully move between genres. Both singles (Wildfire and Fail Better) became top 10 charting singles and were playlisted by RTE Radio 1, iRadio, Spin 1038 and more, as well as featured performances on BBC’s Across the Line and Virgin Media’s Six O’Clock Show.

Megan’s sophomore studio album Getting Comfortable with Uncertainty was released in March 2021. Time in a Bottle, the bonus track, featured in the opening scene of hit Netflix TV Show Firefly Lane and one week later, O’Neill performed the song live on the RTE Late Late Show – charting that same weekend in Ireland across all genres. Megan’s subsequent Late Late Show performance was this past September when she performed Brian Byrne’s ‘Lay Your Head Down’, originally released with Sinead O’Connor on vocals.

Deemed a rising star” by uDiscover and Timeout Magazine London, Megan has toured globally. She has performed at private Oscars’ parties in LA alongside Gavin James (on invite from JJ Abrams) and has had her song ‘Don’t You’ featured on ABC’s hit TV Show ‘Nashville (Season 3). She has opened for the likes of Sir Tom Jones, Lighthouse Family and Jamie Cullum (to name a few) and the late Olivia Newton-John was a self-proclaimed Megan O’Neill fan.

Late in 2022, Megan toured with Glen Hansard across Ireland as part of his band and took part in the famous Christmas Eve Busk on Grafton Street. She is also a member of indie-electronic project Where the Waters Meetalongside Paul Kenny which launched in November 2022 with a commissioned piece for the Recording Academy (The Grammy Awards): their cover of ‘Bette Davis Eyes’.

Megan will tour in Ireland and the UK early 2024, for dates and tickets, visit http://megan-oneill.com/#liveshows

FEB 14, 2024 WEDS

Riverbank Theatre, Newbridge, Co. Kildare

FEB 16, 2024 FRI

Heeley Parish Church @ 7:00 PM

Sheffield, United Kingdom

FEB 17, 2024 SAT

ExCellar @ 7:00 PM

Surbiton, United Kingdom

FEB 18, 2024 SUN

The Colne Delta Blues and Americana nights @ 7:00 PM

Brightlingsea, United Kingdom

FEB 19, 2024 MON

Barnoldswick Music & Arts Centre @ 7:00 PM

Barnoldswick, United Kingdom

FEB 20, 2024 TUE

Retro Bar @ 7:00 PM

Manchester, United Kingdom

FEB 21, 2024 WED

The Half Moon @ 7:00 PM

London, United Kingdom

https://instagram.com/meganoneillmusic

https://twitter.com/meganoneill / @meganoneill

https://www.facebook.com/MeganONeillMusic

https://www.youtube.com/channel/UCWajlM_WS19L91STNMyyyPw

https://open.spotify.com/artist/1JqJXI7idjd9rrxOox7yiB?si=nVehpzaXQ-mW2FljQIqDvQ

First Study in Ireland to Investigate Gender, Race & Class in Music Industry Organisations Calls for Participants

A newly launched PhD study, Gender and Music Industry Work: An Intersectional Investigation into How Gender Operates in Music Industry Organisations in Ireland, invites participation from current and former employees of music organisations operating in Ireland. The study is being undertaken by PhD researcher, Yvonne Kiely, at the School of Communications, Dublin City University, and is funded by the Irish Research Council.

The study aims to understand how gender operates in music organisations in Ireland, using feminist intersectional methods that consider gender, race, and class as a single, dynamic concept, with complex possibilities for the organisational realities of employees. To understand how gender operates in these music organisations, attention will be paid to the organisation’s practices and processes, as well as to the experiences of music industry professionals who work for them.

The study employs a secondary focus on caring and domestic labour in the homes of employees, so that discussions about access to resources and opportunities in music industries can be broadened to include the societal context of work in music organisations.

This study represents a first step in the study of gender and music organisations in Ireland and addresses a fundamental gap in intersectional feminist music industry research.

Research about gender and music industries from Ireland and elsewhere has primarily focussed on people who create music, resulting in an important body of knowledge that can help inform future research in underexplored areas. To date, there has been no investigation into gender and music organisations in Ireland. Globally, this topic is in its early stages of development.

Race, an intersection that is receiving increased attention by gender and music industry researchers, still does not receive adequate scrutiny within the field. Additionally, at a global level, the role of class in the lives of people working in music industries is severely under investigated by industry reports and academic research and is virtually unaccounted for by feminist music industry research.

The survey for this study is currently open for eligible participants, and is available here: https://easy-feedback.com/dcuphdmusicorgs/1730918/k3q9mF

Eligible participants who are interested in taking part in the interview stage of this study are invited to contact the principal investigator, Yvonne Kiely (yvonne.kiely3@nullmail.dcu.ie). There is also a section at the end of the survey where participants may submit their contact details for the interview stage.

Eligible participants are people who:

  • Currently work, or used to work, for music industry organisations in Ireland, in paid employment with a formal employment contract,
  • whose role in the organisation is/was positioned within a hierarchy of jobs, with the potential for upward mobility or decision making power over the mobility of employees,
  • within an organisation in the core music industry sectors (live, publishing, recording) or within an organisation in peripheral sectors that engages directly with commercial musical works, their creators, or the people and processes involved in leveraging the commercial success of these works and their creators.

People whose sole music industry work is song writing, performance, composition, design or music production are excluded from this project. Participants must be aged 18 or over. Participants can be currently located in Ireland or abroad, as long as they satisfy the eligibility criteria.

Participants and others interested in the study are welcome to share the survey link and information about the study in their networks.

Contact Information

Questions about the study should be directed to the principal investigator, Yvonne Kiely (yvonne.kiely3@nullmail.dcu.ie)

Twitter/X: @LazerGuidedRep

About the Irish Research Council

The Irish Research Council is the national funder of excellent research across all disciplines. It invests in discovery research and in ground-breaking ideas that address major societal challenges, funding a diverse range of excellent individual researchers across all career stages. The Irish Research Council collaborates with enterprise, civil society, and with government to leverage the skills, knowledge, and talent of researchers to achieve maximum benefit for society. Established in 2012, the Irish Research Council is an associated agency of the Department of Further and Higher Education, Research, Innovation and Science and operates under the aegis of the Higher Education Authority.

Further information is available at www.research.ie, @IrishResearch, #LoveIrishResearch

Bucket return with the blistering single ‘Who Knows?’

Bucket release their highly anticipated single ‘Who Knows?’ on Friday November 10th 2023.

Having signed with Dublin-based label house A Baker’s Dozen earlier this year, the single marks the band’s first release since their DIY 8-track cassette & digital album ‘The Big Sin’ in October of 2021.

‘Who Knows?’ is a blistering effort at capturing Bucket’s deafening live performances. Smeared with textural guitars, driving basslines, and weighted drum grooves – the track is bursting with smitherings of garage, noise, and hardcore. While the track’s lyricism loosely discusses topics of insomnia and slow-paced city centre pedestrians, Who Knows? is largely a sonic statement piece; a testament to Bucket’s aural ability – it’s explosive breakdowns and increasing tempo marking the band’s shift towards even noisier contemporary planes whilst preserving the punk & garage qualities in the track’s influence.

For fans of: TheeOhSees, Gilla Band, black midi, Model/Actriz, METZ.

About Bucket:

The brainchild of guitarist/vocalist Cian Dahdouh, bassist Emmett McNamee, and drummer Josh Dorrell, Dublin-based 3 piece Bucket seemingly appeared from nowhere with their debut album in the latter half 2021; breeding the DIY ethics of garage and punk rock, soon endowing a reputation for their sweaty live shows. The band’s first show saw them sell out The Workman’s Club, soon playing an array of wall-to-wall DIY shows across Ireland. Just this year, Bucket have played support to the likes of Heavy Lungs and Press Club.

Connect with Bucket

Instagram | Spotify | Bandcamp

Rain Jamerson Releases ‘A House Where the Light Is Master’

Indie soul/funk artist Rain Jamerson has arrived with his debut album, A House Where the Light Is Master, set for release on November 10th. The ten track feat is infused with his signature lyrical positivity and feel-good grooves. Smooth guitar riffs, funky bass, and moody vocals create the chill atmosphere Jamerson has become known for. This body of work is entirely self-made, with tracks written, performed, and recorded in his home studio in Ireland. Listeners of Jungle, Mayer Hawthorne and George Clinton will find themselves gravitating towards Jamerson’s unique blend of old and new. 

Based in Dublin, Rain Jamerson is the solo project of multi-instrumentalist Luke Fitzgerald. His inspiration is derived from the soul and funk of the 60s and 70s, paired with a modernized twist. Devoted to creating “funky cosmic sounds,” Jamerson explores spirituality in most of his songwriting. Simple refrains beg to be sung, while a closer listen easily reveals uplifting mantras. By combining elements of hip-hop, electro, R&B, and pop with a deeply intimate lyrical style, he brings new cool to the old school. “You won’t start livin’ till you’re ready to die,” he professes on the jam-infused track “Fear Less.” 

A House Where the Light Master Is explores themes of love and healing as a means of moving away from trauma and fear. “The intention I had when making this album was to explore who I am, or who I think I am,” Jamerson shares. 

Standout single “Blessings” was written as a personal message to always center kindness. After time spent in Malawi, Jamerson received a handmade acoustic guitar from a man who shares the same name as the track. He finished a half-written demo on that guitar, ultimately titling it after his serendipitous encounter. It is about, “….giving yourself over to the magic of the Universe.” He reminds the listener that there are “blessings waiting for you, my friend,” over a danceable, steady drum beat and energetic bass lines. 

Speaking on the LP as a whole, Jamerson shares, “What I found through the process of recording these songs is that I am not who I thought I was. I am not my job, I am not the things I own, I am not my past, I am just the energy that flows through me.”

Connect with Rain Jamerson

Spotify | Instagram | YouTube

 

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