UK Music // Chief Executive (London/Hybrid)

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Domino // Promo Dept Coordinator (London/Hybrid)

The Ivors Academy // Chief Executive (London/Hybrid)

Broadwick Live // Senior Operations Manager (London)

Today's music business news

TOP STORY

Apple to provide royalty boost to tracks delivered in Dolby Atmos

Apple Music is planning to start offering incentives to artists and labels that deliver music mastered in Dolby Atmos, the immersive audio standard, according to sources who have spoken to Bloomberg.

Specifics of the plan are not yet clear, though Bloomberg’s sources suggest that a user will not necessarily have to listen to the immersive version of a track in order for the royalty boost. Seemingly, so long as the track is available in Dolby Atmos, it will benefit.

However, many users of Apple Music are likely to be listening on devices that support Dolby Atmos. So, the incentives offered by Apple may accelerate delivery of content mastered in Dolby Atmos, and increase consumption of tracks mastered in the format.

A number of streaming services, including Amazon Music, Tidal, and Qobuz - as well as Apple - have been implementing support for immersive audio standards, including Dolby Atmos, Sony 360 Reality Audio and THX Spatial audio. Many people use the term ‘spatial audio’ to refer to these immersive audio formats.

Apple also has its own proprietary ‘immersive plus’ technology, confusingly called Spatial Audio, which is available to users of Apple AirPods earbuds and AirPods Max headphones. Apple Spatial Audio includes head tracking, meaning that as a user moves their head whilst wearing AirPods they will feel as though they are moving in the audio landscape.

Immersive audio formats are likely to be an increasingly important part of not just music consumption but broader entertainment consumption. Apple, in particular, is heavily invested in developing immersive entertainment technology. Apple’s VisionPro headset will rely heavily on immersive audio - and in particular Apple Spatial Audio - while the company recently revealed a couple of days ago that the iPhone 15 Pro will allow users to capture ‘spatial video’.

While some industry commentators say that this is simply the latest development in a constant ‘format shift’ that has been going on for decades, immersive audio and Dolby Atmos offer significant benefits for music, including greater detail and dynamic range, meaning that music does not need to be ‘boosted’ or made artificially loud.

More significantly, Dolby Atmos is an adaptive audio format that ‘folds down’ very well to work on pretty much any device, giving long term ‘future proofing’ for tracks mastered in Atmos. This means that while Atmos mastered content is best experienced as a fully immersive format with headphones or speakers that support it, this is not essential.

Ultimately, so long as a device - such as a phone - supports Dolby Atmos then, as one audio engineer told CMU, “a kid will be able to play Dolby Atmos out of their phone speaker and it will still sound better than non-Atmos audio”.

While there are cost and workflow implications to providing Atmos-mastered audio, the number of engineers and studios equipped with the necessary equipment and skills has increased significantly over the last year. This means that where there were previously capacity issues for Atmos mastering, this now appears to be less of an issue.

In addition, the creative opportunities that immersive audio formats - including Atmos - offer to artists and labels are exciting. This, coupled with an expected increase in immersive entertainment formats in coming years, offers opportunities for the industry.

However, as more frontline and premium catalogue audio content is delivered in immersive formats and we reach a consumer ‘tipping point’ this presents a potential issue for legacy catalogue managers as the difference between immersive-mastered content and non-immersive content becomes clearer to consumers, meaning non-immersive audio may lose out.

ONE LINERS

One Liners: Death Row, Scottish Music Industry Association, Fat White Family + more

DEALS

Death Row has partnered with Sony Music Publishing’s Extreme Music to launch new production music library Death Row Pro. “Extreme sets itself apart by striving for authenticity and when it comes to hip hop, there is nothing more authentic than Death Row. We are super excited to be bring the sonic horsepower of Death Row to music supervisors”, says Extreme Music CEO Russell Emanuel.

Warner Chappell has signed Jay Versace to a worldwide publishing deal. “I’m beyond THRILLED to welcome Jay Versace to the Warner Chappell family”, says Senior Director of A&R Cate Wright. “With his innate instincts and unique approach, he’s quickly become a sought-after hitmaker. It’s no question that Jay is an incredible producer, but it’s his ability to connect with artists, form lasting relationships, and cultivate projects that has led to hits with the likes of SZA, Doja Cat and Summer Walker”.

Secretly Distribution has signed a deal with Bella Figura - supporting its work on the David Gray catalogue, Danger Mouse’s 30th Century Records and Madlib’s Madlib Invazion. It has also renewed its deals with Captured Tracks, Rhymesayers Entertainment and Run for Cover.

APPOINTMENTS

The Scottish Music Industry Association has named Jen Hunter as its new Chair, and announced that interim CEO Robert Kilpatrick has been appointed to the position permanently. “Having worked with Jen Hunter in various capacities over the years, I’ve been both impressed and inspired by what a strategic and dedicated cultural leader she is”, says Kilpatrick. “I’m also incredibly honoured to be taking on the CEO and Creative Director role on a permanent basis, and I’d like to thank the SMIA Company Board for their continued support”.

RELEASES

Fat White Family have released new single ‘Religion For One’. “Abject narcissism is our only real code of conduct anymore”, say the band. “Everything is thinly veiled self-interest. The post-modern post social media condition constitutes a complete death of outwardness. We are smothered by the infinite present. We have swapped art for the history of art. The game is up. The party’s over… no surrender!”

Still Corners have released ‘Secret World’, taken from their new album ‘Dream Talk’, which is due out on 5 Apr. “Sometimes the thought of someone, wanting to know them, get into their world is dangerous”, says the band’s Tessa Murray of the track. “The real person doesn’t matter anymore, just the fantasy of them, which is totally wrong but feels right”.

GIGS & TOURS

ZZ Top will play Wembley Arena in London on 11 Jul. “It’s been a while since we’ve been able to check in with our European fans, so it goes without saying that we’re excited about coming back this summer”, says the band’s Billy Gibbons. “We’re looking forward to a good time and that goes for both those in the audience and on stage”. Tickets go on sale on Friday.

Alvvays have announced UK tour dates in June next year, including a show at Troxy in London on 26 Jun. Tickets go on general sale on Friday.

LIVE

Next MSG Sphere could be in Abu Dhabi after London rejection

The next MSG Sphere venue could be in Abu Dhabi, according to sources who say that the United Arab Emirates has become a focus after plans in Saudi Arabia and South Korea "stalled".

Sources told the New York Post that there "are serious talks" between US venue operator MSG and potential partners in Abu Dhabi about the second Sphere venue being built there. "They keep going back and forth", the sources added.

MSG has been in talks with other cities too, including Hanam in South Korea, where there are plans to build a Sphere as part of a bigger venture called K-Star World, which would also include a film studio, theme park and other K-pop related attractions.

However, it seems that MSG was hoping to start constructing its Korean Sphere in 2025, which wouldn't be possible under the standard planning process timelines. Which is possibly why plans there have “stalled”. Although the South Korean government did recently say that it would step in to fast-track that planning process.

According to a report in the Korea JoongAng Daily last month, "it takes more than 42 months to conduct a feasibility study to review the potential lifting of development restrictions and to go through other administrative procedures".

However, it then quoted a government official who said that "the government will fast-track licensing and other administrative procedures to reduce the period to 21 months to help [MSG and its partners] carry out the project as planned".

Of course, London was originally set to be the home of the second Sphere venue, the first having opened earlier this year in Las Vegas. The London Sphere would have been built next to the Olympic Park in Stratford.

However, the plans proved controversial with local residents, mainly because each Sphere venue is covered in an LED skin that turns it into a massive screen, which would be somewhat annoying for those living nearby. So London Mayor Sadiq Khan ultimately blocked the project.

In theory the UK government could still intervene and grant approval, though MSG has seemingly given up on its London ambitions, saying that it was now focusing on setting up shop in more "forward-thinking cities".

So, will it be forward-thinkers Hanam or Abu Dhabi that get some Sphere-style entertainment first? Who knows?

Though if you're looking for some Sphere-related entertainment sooner, MSG is being sued by two companies involved in the construction of the Las Vegas venue and that dispute is due in court in February. Given the project reportedly went a billion dollars over budget, that could be fun.

AWARDS

LIVE Awards celebrates the live music industry

The great and the good of the UK live music industry all got together in London last night for an evening of back slapping and cheering at the LIVE Awards. I don’t know who was running the live industry while they all did that.

Venues, ticketing companies, festivals, promoters and even people won prizes. The headliner was Live Nation’s Phil Bowdery, who took away the LIVEtime Achievement Award, recognising his more than 50 years in the music industry. Tributes to him were sent in by Tom Jones, Stevie Wonder, Shirley Bassey, Michael Ball and more.

"The LIVE Awards has become an important moment in the industry calendar as the only chance everyone gets to take a step back and celebrate what's been achieved each year”, says Jon Collins, CEO of trade body and awards organiser LIVE.

“We know that this has been a tough time for many given the cost and complexity of touring, pressure on festival margins and grassroots venues taken to the brink”, he adds. “LIVE will continue to fight for positive change while taking this moment to celebrate the incredible achievements of so many in our sector”.

To see the winners in full click below.

MEDIA

Clara Amfo steps down from her daily show in Radio 1 schedule rejig

BBC Radio 1 has announced a schedule rejig for 2024 which will see Clara Amfo step down from her daily show 'Future Sounds'.

Jack Saunders will take over the show, while Sian Eleri will launch a new programme in the 8pm Monday to Wednesday slot that is currently occupied by Saunders. Amfo, meanwhile, will continue to work for the Beeb via a new show on BBC Sounds and regular special programmes.

Confirming the move, Amfo says: “I'm so proud of the work I've been able to do on every show. I’m grateful to have had the ears of the listeners who have consistently shown up for me. I’m enamoured by everyone I’ve had the privilege of working alongside for each and every broadcast. I’m energised and excited for my next chapter as part of the network and beyond!”

Says Head Of BBC Radio 1 Aled Haydn-Jones of the changes to the station's 'Future Sounds' show: “Jack was born to host this show - I am so excited to hear what he delivers for Radio 1’s music loving audience. I’d like to thank Clara for everything she has done for 'Future Sounds' and I’m delighted that she will be staying with Radio 1 and BBC Music to continue to bring some amazing artist highlights over the next year and beyond.”

Elsewhere in the schedule changes, Aly Holcombe will start presenting the weekly 'Indie Show' and Arielle Free will host a new dance music show on Thursday nights.

LEGAL

US ISP Altice sued for failing to deal with repeat infringers

US internet company Altice, which operates the Optimum internet and cable TV service, has been sued by the Warner Music and Sony Music for not doing enough to deal with repeat copyright infringers among its customer base.

"Plaintiffs bring this action for contributory and vicarious copyright infringement against Altice", says the new lawsuit, "a company that has knowingly contributed to, and reaped substantial profits from, massive copyright infringement committed by thousands of its subscribers".

"Despite receiving tens of thousands of notices from plaintiffs that detailed the illegal activity of its subscribers", it goes on, "and despite its clear legal obligation to address the widespread, illegal downloading of copyrighted works on its internet service, Altice enabled its subscribers to continue infringing plaintiffs’ copyrights with impunity through the continued provision of its high-speed internet service to known repeat infringers".

This is all very familiar of course. The record industry has sued a number of US internet service providers for not doing enough to deal with repeat infringers.

The argument goes that, by failing to deal with those repeat infringers, ISPs do not qualify for safe harbour protection under US copyright law. Which means they can be held liable for their users' infringement. And that argument has worked in court against both Cox Communications and Grande Communications.

Among the ISPs already sued in this domain is, well, Altice. It was sued a year ago by Universal Music, BMG and Concord. The new lawsuit basically sees Sony Music and Warner Music join the party.

AND FINALLY

John Thomson joins Absolute Radio for show about drummers drumming

Actor, comedian and - most importantly - drummer John Thomson is to front a new set of shows for Absolute Radio looking at the drumming greats. The series will run over the Christmas period and is to be titled ‘Twelve Drummers Drumming’. The high fiving the day they came up with that idea must have been unbearable.

There are to be four shows in total, the first looking at rock drummers, before moving on to pop, jazz and R&B. Those covered will include Ginger Baker, Sheila E, Phil Collins, Buddy Rich and Stewart Copeland. All the usuals.

“People know me as an actor”, says Thomson. “But what they may not know is that I love drumming and drummers. That’s why I wanted to make this series about the most important member of any band. Basically, I’ve got to talk about drummers and drumming for hours and call it work! What a brilliant Christmas present”.

The first show will air at 9pm on Boxing Day, with the series continuing at the same time until 29 Dec. And at that point, everyone will know everything there is to know about drumming.