Phil Harvey

Earlier this year, Spotify released its annual Loud & Clear report which rounded up global royalties data. Now, Spotify has unveiled UK-specific equivalent data. The UK figures include the overarching (royalties generated by UK artists from Spotify exceeded £750M in 2023) and drill down to artist-level (the number of UK artists who generated over £10,000 and £50,000 in royalties from Spotify in 2023 has doubled since 2017). There were two points that Spotify seemed particularly keen to share: the first was that “close to 1,000” UK artists generated at least £100,000 in royalties from Spotify in 2023. That’s again over double than in 2017 (although according to the Bank of England inflation calculator, £100,000 in 2017 is the equivalent of £128,705 today – it’d be interesting to know how many of that 1,000 earned thatamount in 2023.) On a press call, Bryan Johnson, head of artist and industry partnerships, and a UK artist himself, enthused about the size of this group of earners. Spotify did not supply data explaining how these 1,000 artists were split between indie and major labels. The second was eye-catching in an era of music globalisation: 75% of all royalties generated by UK artists on Spotify in 2023 were from listeners outside of the UK. Safiya Lambie-Knight, Head of Music, UK and Ireland, pointed out how a global platform has resources to scale success into multiple markets. Read The Full Story Here: https://lnkd.in/d7m4SfkG #SpotifyRoyalties #UKMusic #MusicStreaming #musically #musicnews #readmore

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UK, not OK « On the second season of The Night Manager, currently in production, I’d estimate we have had to move between $20 and $30 million dollars of expenditure away from the UK, and from UK crew and talent, in order to access European incentives – something that a few years ago was wholly unnecessary. This illustrates in the harshest possible way the direct economic harm being done to the UK industry – and the UK generally – by the lack of a close working relationship with Europe. My hope therefore is the new government will tackle this issue head on and take action to reintegrate with Europe on whatever pragmatic basis is available to us, to build a stronger, more prosperous future for our industry and for the UK as a whole. Simon Cornwell, CEO, co-founder, The Ink Factory Countries like Italy and Malta and even Australia all have a 40% net tax credit, so whilst 32% is significant we are still uncompetitive with those countries, and we need to ensure for the long-term that we can retain production in the UK. A full 40% net of production spend for independent features would be a brilliant way for the new government to show that cultural British feature films matter in the same way as it did for the former government. Zygi Kamasa, founder, CEO, True Brit Entertainment »

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Would Chloe Mitchell, Universal Music Group recommend us? "The numbers talk for themselves" & we love to listen! Anyone who knows us knows we are massive data nerds, so this is music to our ears - but we love even more hearing our clients say how we've integrated into their team & about the partnership we have! Chloe Mitchell we can't wait to see your paddleboarding skills this afternoon! #clientlove #clienttestimonial #ppcagency #paidmediaagency #digitalmarketing

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For one newly employed TV writer, tradeoffs have been top of mind as their promotion gets eaten away by commissions, taxes and fees. Why it matters: The entertainment industry is in a period of contraction, and the workers left to bear the brunt of the crunches have struggled mightily. In particular, those lower on the totem pole have had to weigh just how much they’re willing to give up to hold onto their Hollywood dreams. Even for those who make it to the big leagues, like a newly-elevated staff writer, bills and dues keep them yearning for stability. Not all it’s cracked up to be: After years of being an assistant and a support staffer, this writer finally caught the big break everyone in those situations hopes to receive. But the first-year writer’s take-home pay isn’t so different from what they’d been making after you subtract the $2,500 Writers Guild of America initiation fee and manager/agent/lawyer commissions. If you add it all up, that’s $25,745 as a support staffer and $32,928, pre-guild fee, as a staff writer. The almost 28% increase looks good on paper, but is not enough to make a material difference. The impact: Because they can barely hold their head above water, they’ve had to skip doctor’s visits and anything else where they can save enough to last until their next gig comes by. Strawberries feel like a forbidden luxury, and their commitment to sustainability — which some, including this writer, view as an ethical necessity for the sake of the planet and not a luxury — creates psychic anguish as this person has to choose between their values and their career choice. For more . . . read the full story on The Ankler. This story is published in partnership with The Ankler, a paid subscription publication about the entertainment industry.

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🆕Raw News🆕 ⭐UK music report: ‘AI can be a great servant but would be a terrible master’ ⭐The UK’s All-Party Parliamentary Group on Music has recommended the government create a “pro-creative industries AI Bill,” focusing on copyright and creator protections, in a report funded by UK Music. The report proposes introducing rights and obligations concerning AI transparency, dataset record-keeping, and mandatory permissions for copyrighted content use. It also advocates for denying copyright to AI-generated works and establishing a ‘personality right’ for creators. Additionally, the report calls for an international compliance framework for AI and an international taskforce. This push is supported by a survey indicating strong public support for these measures. 📰Read more here: https://lnkd.in/d4gUYBwj

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Absolutely agree. Bluesky feels like a comforting throwback for journalists: familiar, text-based, and built for the echo chambers we’re used to. But nostalgia can be a trap. The media landscape has fundamentally shifted, and audiences have made their preferences clear: they want authenticity, personality, and video-driven storytelling. Journalists and news brands need to adapt, not just for survival but to remain relevant. Platforms like TikTok thrive also because they put humans at the center of the narrative. People don’t just consume content; they connect with creators on a personal level. This is why even hard news finds traction when it’s delivered by individuals who can engage audiences with their voice, their expressions, and their unique perspectives. Additionally, I do think it’s worth considering that much of the discourse online about X/Twitter and the X-odus has felt rather one-sided and heavily Western/US/European in perspective. While the platform’s direction in recent years has undoubtedly been questionable, we should remain mindful of some of our regions, for whom X/Twitter remains a relevant platform.

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This course, by EBU Academy Faculty Member Micky Curling, is a fascinating insight into how you can use AI in your audio production today and in the future, and don't forget the discount code!

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Aside from James Jani being an excellent documentary maker on YouTube, for anyone susceptible to clever marketing from self help gurus, please consider watching this video. Some of it is harmless and there is some good information available, but there is a fine line between getting the info you need and paying someone thousands. You'll find that what starts out to be free is just bait to hook you in and before you know it you're handing over your credit card details to a randomer with a good story (but is that even real?). Ethically, I think it's important for people to be aware of the strategies that these people use to convince you that you've found the golden goose, after all they are the masters of mindset. Please educate yourself before you hand over thousands to the latest pyramid scheme. Only you may not think it is one... #jamesjani #selfhelp #becareful #theriseoffakegurus #selfhelpguru

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While planning an OEB Global Conference workshop with Frances O. I realised we should try to use tools that the two of us have been using since pre-COVID days. So now I'm going to see if the OneNote pages each of us have created to support an intense training session can be complemented by prompts from Copilot for OneNote. We might be able to package inside OneNote all the tasks together with hyperlinks to supplemental content. This would allow participants to see time-coded syllabus items by using their handsets. #bigwin https://lnkd.in/ei3cR2fD

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Section are giving a free ' 1 Hour to AI Proficiency ' workshop Sign up using the link below

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Just getting on board with linkedin so slow sharing from me but please do explore this report of some of our recent work Pervasive Media Studio - Alternative Technologies: A Just Transition. Written by my brilliant colleagues Furaha Asani, PhD and Zoe Rasbash featuring gorgeous design by Kofo Ajala. I learned so much from everyone who participated. With special thanks to Dr Erinma Ochu who trusted us and whose work is changing how I think. Check out the findings in this report - large size text available here https://lnkd.in/e76Uvkw7 Summary Over some months, a collective gathered Pervasive Media Studio to understand and enable life-affirming futures at the intersection of creative tech and climate action. With support from Watershed, Digital Cultures Research Centre and Engaging Environments We mapped our findings onto a matrix of nine themes we believe are relevant to responsible R&D in this sector: roots, designing comfort, co-production, communication, intentionality & emergence, wellbeing, esteem & inspiration, legacy, and structure. We've also created a toolkit from our learnings on (1) How to go beyond 'terms of engagement' and actually co-create a contract of care in this type of work, (2) Co-creating nourishing workshop spaces, and (3) Using self-nomination as a process to curate a group. Alternative Technologies: A Just Transition | Pervasive Media Studiowatershed.co.uk

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Empathy For The Devil: Episode 1 – Brian Jones We're so excited to launch the first episode of Empathy For The Devil, a podcast series from Attune's Matt Thomas, Chula J Goonewardene MBACP and Sam Parker, three music industry veterans turned mental health and addiction specialists. The series delves into the lives of legendary artists, exploring their psychological struggles and untimely deaths, providing invaluable insights for music industry and mental health professionals, music enthusiasts, and anyone with a passing interest in human nature. Episode 1: Brian Jones: Pop's Ultimate Fallen Angel? Brian Jones, the founding member of The Rolling Stones, was instrumental in shaping their iconic sound. However, he's often remembered more for his erratic behaviour and tragic end. In our first episode, we revisit Brian's story through a modern mental well-being lens, examining his difficult childhood, band tensions, troubled relationships, and escalating substance use. We aim to portray him not as a rock 'n' roll casualty but as someone who needed help that wasn't available. Join us as we connect the past and present, discussing why these tragedies occurred and highlighting lessons to prevent similar mistakes today. https://lnkd.in/eFvBMmVq #MentalHealth #AddictionRecovery #MusicIndustry #Podcast #BrianJones #EmpathyForTheDevil #Wellbeing #ADHD #Addiction

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This article by editor and music expert Eamonn Forde summarises perfectly the contradictions and complexities of the music industry today. On one side, record companies and streaming platforms are all generating record revenues. But artists, rightsholders and staff are not always reaping the benefits. “There is a yawning disconnect in the business. Companies themselves are doing fantastically well. And yet staff numbers are being pared back and many artists themselves, unless they are in the Taylor Swiftian top 1%, say that a proper living from recorded music income or songwriting royalties is a cruel pipe dream.” #Music #MusicIndustry #MusicBusiness

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