Last week the Financial Times reported that EU officials had said Labour's commitment to improve EU relations and ease touring barriers for artists and musicians was "not straightforward". We didn't think it would be, but we welcome the renewed focus on the issue of touring in Europe. This remains a critical topic for the UK's music industry, with cultural exchange between the UK and the rest of Europe essential in maintaining the continent's vibrant musical heritage and competitiveness. The Featured Artists Coalition (FAC) and MMF (Music Managers Forum) launched the "Let The Music Move" brand in 2021 as an umbrella for the music industry to unify and campaign on issues around touring. Its aims are as important today as they were then. The industry will continue to work with the Labour Government on fostering a new relationship with the EU and creating a more positive touring environment, to power the future of our sector. Thanks to James Hanley at IQ Magazine, Rachael Healy at The Guardian and Adam Sherwin at The i paper for discussing the topic. https://lnkd.in/e5qz73Aa
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UK music industry leaders are urging the government to address post-Brexit touring barriers, as EU officials have indicated they are not open to changing regulations. Current restrictions, including limits on working days and complex visa requirements, are making EU tours more challenging and costly for UK musicians. A 2023 survey found nearly half of UK musicians have seen a reduction in EU work. Despite Labour's pledge to improve trade relations, industry experts stress that immediate action is needed to mitigate these obstacles and support the £6.7 billion music sector. https://lnkd.in/gKGESxhS #UKmusic #UKmusicindustry
UK music industry presses government to solve post-Brexit limits on touring
theguardian.com
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Brexit has a significant impact on the UK music industry. The proportion of artists reporting income loss due to Brexit has risen due to rising logistical costs, which add pressure on musicians. Touring in the EU has become more challenging, with increased costs and red tape deterring many musicians. While superstar artists have the resources to overcome these obstacles, lesser-known musicians and supporting staff face significant barriers, including the 90-day visa limit. UK Music's report warns that, without a more ambitious post-Brexit strategy, the UK risks falling behind in the global music industry.
‘Brexit is hell,’ artists say as report reveals toll of EU exit on musicians
independent.co.uk
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UK Music Chief Executive Tom Kiehl has been talking about the huge challenges facing UK musicians and crew touring the EU. He spoke following after it emerged that EU documents suggested Brussels was not prepared to change the rules to tackle the issue - despite the efforts of the UK government to find a way through the post-Brexit restrictions on live music. Before the General Election, Labour pledged to help touring artists and crew who have faced extra costs and red tape since Brexit. The need for customs paperwork for instruments, issues with transport and limits on merchandise sales, along with a host of other regulations have made it harder, more time consuming and less viable for UK performers to tour in Europe. Tom told the Observer: “The UK’s exit from the EU has created significant barriers that have made live music touring more expensive, bureaucratic and confusing for musicians, artists and crew. This is hampering our £6.7bn music industry’s ability to grow." Tom also spoke to the i paper's Adam Sherwin about the issue, saying: “Labour made a pre-election commitment to deal with a problem that is threatening the talent pipeline on which the music industry relies. “We need the Government to continue to work with our EU neighbours to try to find a swift solution. “We want to see great British bands like Oasis to be able to tour right across Europe and grow our £4bn UK export market and allow overseas fans to enjoy the best live music in the world.” Read more in the i paper article below: https://lnkd.in/eia7gDGT #music #EU #LetTheMusicMove #Oasis
Music industry seeks Brexit fix for bands touring Europe
inews.co.uk
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🎵 The Power of UK Music 🎶 Music plays a pivotal role in the UK’s thriving creative economy. As Shadow Culture Secretary Stuart Andrew MP highlights, the numbers speak for themselves: ✅ £7.6bn contribution to the UK economy ✅ 216,000+ jobs supported ✅ £4.6bn in exports ✅ A global cultural influence that resonates far beyond our borders The UK music industry is not just a source of inspiration—it’s a cornerstone of our creative sector and a key driver of economic growth. Let’s continue to support and celebrate this vital industry. https://lnkd.in/eS6V2bpr
This Is Music Report Reveals Sector Contributes Record £7.6 Billion To UK Economy - UK Music
https://www.ukmusic.org
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UK Music has found that the country saw an all-time high in music in 2023. With a 20% increase, this growth has been attributed to iconic performances by Blur and Beyoncé. Not just this but their studies noted that - → There were 19.2M attendees which is a 33% spike from 14.4M in 2022. → Music tourism spending reached £8B, a 21% increase from £6.6B in 2022. This data shows the huge demand for the UK’s music scene and how both domestic and foreign tourists are making the most of this experience. With Taylor Swift's Eras Tour selling out 8 nights at London's Wembley Stadium, each with a 90,000 capacity, the music tourism industry shows no signs of slowing down. The 2024 figures are expected to reflect even more significant growth. This makes it even more important for the music ecosystem to be supported to ensure that everyone, no matter where they live can have access to music. It also makes it important for other countries to realise that the music industry is an important driver of economic growth that provides entertainment, employment and inspiration to millions. Are you working to ensure musicians receive the necessary backing to flourish? #musicindustry #musicecosystem
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🎶 **Top 10 Richest Nigerian Musicians and Their Impact on the Music Industry** 🎶 Nigeria's music industry is booming, with many artists achieving incredible success both locally and internationally. Here’s a look at the top 10 richest Nigerian musicians and what sets them apart: 1. **Davido** - With multiple hit songs and international collaborations, Davido is not only known for his music but also for his business acumen. He has several endorsements and owns a record label, DMW. 2. **Wizkid** - Wizkid's influence extends beyond Nigeria. His collaborations with global stars like Drake and Beyoncé have solidified his place in the global music scene. He also has lucrative endorsement deals with major brands. 3. **Burna Boy** - The Grammy-winning artist has taken Afrobeat to new heights. Burna Boy's international tours and successful albums have significantly boosted his wealth. 4. **Don Jazzy** - As a producer and the founder of Mavin Records, Don Jazzy has nurtured many of Nigeria's biggest stars. His behind-the-scenes work has made him one of the wealthiest figures in the industry. 5. **2Baba (2Face Idibia)** - A veteran in the Nigerian music scene, 2Baba's timeless hits and multiple awards have earned him a spot among the richest. His investments in real estate and other businesses also contribute to his wealth. 6. **Olamide** - Known for his versatility, Olamide has a massive following and numerous hits. His record label, YBNL Nation, has produced several successful artists, further adding to his fortune. 7. **Phyno** - Phyno’s unique blend of Igbo rap and hip-hop has made him a household name. His music career, combined with endorsements and investments, has made him one of Nigeria's richest musicians. 8. **Timaya** - With his catchy dancehall tunes, Timaya has carved out a niche for himself. His consistent releases and strategic investments have significantly increased his net worth. 9. **P-Square** - The duo of Peter and Paul Okoye, known as P-Square, have been successful for over a decade. Despite their split, both continue to thrive in their solo careers and business ventures. 10. **Tiwa Savage** - As one of the leading female artists in Africa, Tiwa Savage has broken many barriers. Her music, endorsements, and acting roles have made her one of the wealthiest musicians in Nigeria. These artists have not only amassed wealth but have also played significant roles in putting Nigerian music on the global map. Their entrepreneurial spirit and dedication to their craft continue to inspire upcoming musicians. 🎤🌍
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It is time to back British artists. At the risk of sounding like a broken record (pun intended), if we hope to fix and future proof the live music industry, we must recognise that activity i.e. performances are the means of doing that. Supporting infrastructure alone, will not build new audiences, develop the artists of tomorrow or pay the countless others that rely on artists for their income (managers, agents, crew, musicians etc). If we get this wrong, it will have the same effect as mothballing the music industry during the pandemic lockdowns. The people that make up the sector will be unable to survive, audiences will diminish and artists will not develop their craft. cc. Featured Artists Coalition (FAC), Andrew Trendell, NME, MMF (Music Managers Forum), Musicians' Union, LIVE (Live music Industry Venues and Entertainment) https://lnkd.in/eS66jZRZ
Government back arena ticket levy to save grassroots music – but urgent deadline is needed to prevent "an even gloomier future"
nme.com
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In today’s world, music has evolved from a mere source of entertainment into a well-established business. The modern music industry is shaped by labels, associations, royalties, and distribution, with people far more aware of these terms compared to earlier times. In a recent interview, the Board of Directors of ISAMRA (Indian Singers and Musicians Rights Association), including Chairman Anup Jalota, renowned ghazal maestro Talat Aziz, and singer-turned-CA Sanjay Tandon, shed light on the workings of their association and the significance of royalties. The journey of music royalties from the shadows of unfair practices to a more transparent and equitable system reflects the evolving nature of the music industry. Legal battles like those fought by Javed Akhtar, along with the advocacy efforts of organizations like ISAMRA and the influential roles of Anup Jalota, Talat Aziz, and Sanjay Tandon, have been pivotal in this transformation. Mid-Day Jai Hind Parth.
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🤔 A bit sad and very personal take on the music in and outside of Russia I watch my numerous colleagues having a great time at festivals in Moscow and St. Petersburg, posting hundreds of stories about Antokha MC, Boulevard Depo, and others' live shows, and getting wet in the rain on Yelagin Island. I watch—and I have strange feelings about this. No, this is not a post about how you can't have fun and enjoy yourself (the irony is that Z-bloggers and emigrant columnists have become the joy police - a funny coincidence). I'm not talking about that. I'm talking about how nothing is working out. Kolya Redkin, in a comment to Afisha Daily, says about the current state of the Russian music industry: instead of crosses in the cemetery, you can see pluses. And I understand him, but I'm afraid I have to disagree with him. These are precisely crosses, sorry. You should understand that the same artists perform at summer festivals. The success of many is connected with the absence of old headliners because they are now "foreign agents" and live somewhere outside of Russia. That musicians who fall under the "therapeutic" class got their dose of hype, because after four years of fucking hell (and it all started with Covid, not 02/24/22) people needed therapy. That there are almost no foreigners - and those there are ostracized. The money for all this fun comes not from fantastic foreign sponsors but from one-and-a-half quasi-state players forced to engage in self-censorship. Some will tell me it is convenient to write from Riga, but people must have fun. That's all true, and I understand that my "must" can be perceived with a certain aggression. And I agree - for example, that the same acceptance should come from the other side. For example, Russian artists are not particularly welcome in Europe, not only for logistical reasons. A musician's concert could have been canceled a day before because there was a satirical news story about her support for the Russian military (I'm not kidding). The cultural bridges that some (including me) dreamed of so much, which were seen as an alternative to other intercultural and interstate communication, are not being built. You have to walk between three pines (the same old headliners), which will never end up in the same field as the local birches (including because of the passport). There is minimal alternative culture, and what there is sometimes causes shame. Nothing works out, and who knows what to do with it? I hope those who got angry after the paragraph before last feel a little better now. But for me, it doesn't make things any easier. Perhaps it's emigration, perhaps a cultural and mental crisis, perhaps burnout, but in general, I see crosses, and they don't turn into pluses—not here, not there, nowhere. The devil knows what to do with this. Maybe get some sleep. But that doesn't work either.
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Some thoughts from Ayo Adebajo and I on the increased integration of AI in the music industry, what the All-Party Parliamentary Group On Music’s newly launched inquiry means, and what issues and opportunities it may raise.
In this latest article Ayo Adebajo and Josh Gallichan discuss the All-Party Parliamentary Group on Music (APPG) inquiry into artificial intelligence and the music industry in the UK.
Creating Harmony: The All-Party Parliamentary Group on Music Launch an Inquiry into AI and the Music Industry - mediawrites.law
https://mediawrites.law
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