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The new wave of marketing innovation

As a new wave of privacy regulations makes consumer targeting much less efficient than before, here, Berlin-based events and digital services solution Future Demand explains why interest-centric marketing is the future – and promoters can take full advantage…

The last 10 years in digital marketing were driven by ever-improving targeting options. Lookalike audiences and retargeting enabled a super-fast, convenient, and easy way of making sure ads were seen by the right people. On the other hand, the data-driven ad-tech industry did very little to help marketeers create better copy and content.

Driven by a new wave of privacy regulations (from GDPR to Apple’s ATT) promoters now see a substantial decrease in the effectiveness of their targeting options. Now, they’re starting to regret spending 10 years improving only 50% of what drives campaign efficacy (user targeting) and ignoring the other 50% (content).

It’s time to have a look at why content is more important than ever before.

Content is the future
Marketing used to be essentially people-focused. The ad-tech industry measured and tracked individuals and tried to understand them. For many industries this worked great, much better than anything before. It worked so well, in fact, that whole industries were built on it. The D2C trend around companies like Dollar Shave Club or Casper was fuelled by direct response ads on Facebook through lookalike audiences and retargeting campaigns.

Against the backdrop of expanding privacy regulations, the future now points to the centralisation of a few big platforms. Platforms big enough to own enough in-platform user data (think Amazon, or gaming giants like Epic Games) will be able to serve ads and convert users directly within their platforms. Eric Seufert summarised the development by the term “content fortresses”.

However, the way the industry is currently set up, this isn’t a tenable solution for promoters (and many other companies) as they lack the content usage of users to gain enough insights into people’s interests and serve targeted ads.


So, what about promoters?
For promoters, targeting has always been more difficult because taste in music is much harder to grasp and describe. A concert is in most cases a one-time happening, making it near impossible to have enough time, iteration cycles and budget to get into the sweet spot of the advertising feedback loop. Promoters, therefore, reverted to traditional segmentation methods, relying on socio-demographic data to cluster audiences and fans. Unfortunately, this works even less.

Note the famous example of Prince Charles and Ozzy Osbourne. Both are born in the same year, have a comparable income, can be located to London, and have the same gender. But their music tastes may be completely different indeed. Traditional segmentation features like age, gender, postcode etc. do little to help you decide who to target for a specific show or event.

What’s next?
Netflix was one of the first to focus only on people’s interests to better describe the diversity in their user base. Like Netflix users, concert-goers can be interested in a symphony concert with a famous French female violinist but also in the next upcoming metal wunderkind playing his or her first gig in the small club next door. The obvious answer for promoters is to design systems that only focus on interest and to cluster based on fans’ interests. The powerful ad networks of today enable targeting those interests.

Knowing why people buy tickets gives promoters an edge over big platforms. As they get more independent from ticketing and ad platforms, switching between them becomes easier. If you know why people are interested and what message they need to see to purchase a ticket or subscribe to an offer, you can decide on which platform to focus on.

What to do about it?

Marketeers must shift their focus towards understanding interests. It enables better targeting and the possibility to match creative content to targeting criteria – all automatically. It increases independence and enhances the speed at which promoters can adopt new and upcoming platforms.

Interest centric marketing will be one of the most important strategic levers for marketeers who do not own a content fortress. Many industries need to speed up their efforts to catch up and rework their whole ad-tech stack. Promoters can now finally leverage their past disadvantage (very, very diverse content) into a powerful advantage. The more diverse the content, the better the understanding of fans tastes and interests.

Learn more about interest-centric marketing here.

 


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International Ticketing Report 2021: Consumer behaviour

The International Ticketing Report is a one-off annual health check on the global ticketing business, with emphasis on the sector’s response to the Covid-19 pandemic.

The past two years have been turbulent for the business, but with consumer demand for live events now at an all-time peak, the challenges of fulfilling the most packed event schedule in history will test ticketers to the hilt.

Staffing, vouchers schemes and refunds, demand, consumer behaviour, communication, new products & services, secondary ticketing, pandemic lessons and recovery are among the challengers addressed by industry-leading experts in this extended report.

The report, originally published in IQ105, is in lieu of the International Ticketing Yearbook – a standalone global guide to the live entertainment market that will return in 2022.

IQ will publish sections of the International Ticketing Report over the coming weeks but subscribers can read the entire feature in issue 105 of IQ Magazine now.

To read the previous instalment of the report on staffing click here.


In addition to purchasing add-on insurance coverage, fans are often waiting until the 11th hour to buy tickets for certain events – although some recent tours and dates for A-list acts next year have sold out within minutes.

While that dichotomy could give promoters sleepless nights, what is proving more certain is the willingness of the general public to embrace digital ticketing. This has been accelerated by the pandemic, as people recognise the health and hygiene benefits of steering away from physical passes for events.

“Digital transformation has significantly changed attitudes towards digital tickets – a Rubicon has been crossed,” says Total Ticketing sales director Martin Haigh. “Contactless purchase, fulfilment, transfer, and redemption is very attractive given the pandemic. Digitally connecting tickets to waivers and proof-of-vaccine may soon be mandatory.”

Scahill states, “Much like we’ve seen with promoters, we expect more of an increase in demand towards the use of digital tickets vs physical as consumers become more accustomed to using technology throughout the pandemic. In addition to this, sustainability is somewhat of a hot-button issue in the events and touring industry, so the more we can limit paper usage in the ticketing industry, the better.”

“Contactless purchase, fulfilment, transfer, and redemption is very attractive given the pandemic”

However, pointing out that a digital ticket merely identifies the mobile phone’s IMEI number, rather than the person holding it, Fair Ticket Solutions’ founder & CEO, Alan Gelfand, comments, “Attendees now have to provide some additional physical form of ID for entry, so whether a ticket is on their phone or physical now becomes only a matter of what the attendee deems convenient for them and should have their choice of deciding, not dictated to.”

And that scepticism wins favour with CTS Eventim chief operating officer Alexander Ruoff, who contends that not everyone will embrace the digital switch. “We believe very strongly that many customers will want to continue to receive a physical ticket or receive it in addition,” he tells IQ.

“An electronic ticket in a virtual wallet hardly triggers anticipation of a concert. In contrast, a paper ticket on the fridge or on the pinboard evokes exactly that feeling. A physical ticket also plays a very important role for many fans as a souvenir of a great concert experience.”

Nonetheless, Richard Howle from The Ticket Factory states, “The pandemic has forced the public (whether they like it or not) to embrace mobile technology with the use of tools like the [UK’s] NHS Covid App. It was only a matter of time until digital ticketing arrived, and the pandemic has simply accelerated that process. Some of our first events to go to 100% digital ticketing were non-music events with audiences that traditionally find it harder to adopt these technologies.”

“Within the next two years I expect that 90% of tickets issued will be digital”

He adds, “Within the next two years I expect that 90% of tickets issued will be digital.”

And Benjamin Leaver, CEO, Event Genius & Festicket says his company’s investment into mobile-friendly products sets them up nicely for the manic 2022 events schedule.

“For example, we recently released our new Festicket customer app, which makes it easier for eventgoers to access their tickets offline from their mobile device, speed-up entry, reduce possible overcrowding at entry gates and generally improve audience flow,” he says.

Indeed, Total Ticketing’s Haigh cites a fundamental shift in attitudes when it comes to digital adoption. “We operate in Asia and there is a cultural proclivity towards conservatism, yet we are seeing clients in some of Asia’s most conservative countries embrace and even demand digital ticketing, where just a year or two ago we were being told that ticket buyers would only accept physical tickets,” he reports.

“We believe that digital ticketing opens up a whole new world of engagement and activation opportunities for live-event promoters and sponsors and as such it’s inevitable that transformation towards digital ticketing will accelerate.”

 


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Eurosonic Noorderslag to go fully digital for 2021

Dutch conference and showcase festival Eurosonic Noorderslag (ESNS) will now go ahead in a digital-only format next January as hopes for a part-virtual, part-physical format have been dashed by the current circumstances.

Organisers say that given the current situation and government guidelines (which ask residents to stay at home under the current lockdown), organising a physical edition is no longer feasible.

The 35th edition of the Groningen-based festival will take place between 13 to 16 January, as originally scheduled, but now on a digital platform.

Robert Meijerink, ESNS head of programme says: “Although we are sad that the acts, audience and music professionals cannot meet each other live in Groningen we think that’s it’s very important in these challenging times, to bring the people of the live music sector, artists, venues and festivals and media together during the digital edition of the ESNS and as the key exchange for emerging European music talent we will work hard to make sure we continue to provide that platform to new artists.”

“It’s very important in these challenging times to bring the people of the live music sector together”

The event’s digital edition will consist of Eurosonic, the showcase festival for emerging European talent; an online edition of the Music Moves Europe Talent Awards ceremony; the celebration of native talent, Noorderslag; and this year’s conference, titled Road to Recovery.

“January 2021 is the perfect time to look ahead and discuss strategies around the re-opening of the live music scene as we know it and to evaluate where we are on medication, vaccine, and fast testing. Looking at the impact on mental health within the industry and finding solutions to sustainability will also be a focus as well as lobbying members of the European Parliament for support of the sector.”

Speakers confirmed for the upcoming edition include Paradigm agents Tom Windish and Mike Malak, Warner Music’s Scott Cohen, Raphaella Lima (EA Games) on music in games, and A Greener Festival’s Claire O’Neil talking about the importance of sustainability.

Tickets for Eurosonic Noorderslag 2021 are available at a substantial discount of €50, which includes access to the digital environment with live streams, on-demand panels, keynotes, sessions and showcases, access to a networking platform and database.

 


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‘Change-seeking robot’ Miquela signs with CAA

Miquela, a singer, model, influencer and robot, has become the first-ever virtual client to sign with Creative Artists Agency (CAA).

The CGI-generated avatar, who was previously signed to WME, will be represented by CAA in all areas, including music, TV, film, brand strategy and commercial endorsements.

Created by robotics and artificial intelligence startup, Brud, Miquela was introduced to the world via her Instagram account in 2016. The avatar now has 2.2 million followers on the platform and almost 600,000 on TikTok.

Miquela, or Lil Miquela, as she is also known, has released a number of singles, including a recent collaboration with (human) singer Teyana Taylor called ‘Machine’. Software and pitch-correction tools are used to create Miquela’s vocal performances. It is unknown who provides her voice.

Described as a “change-seeking robot”, Miquela is currently raising money for the MusiCares Covid-19 relief fund on her Instagram page.

“Over the last few years, we’ve watched the team at Brud create a true multi-hyphenate in Miquela”

Non-human artists have appeared in all kinds of forms in recent years. Japanese vocaloid Hatsune Miku, who takes the holographic form of a blue-haired teenager, has performed live in Asia, North America and Europe. The vocaloid was due to play this year’s Coachella festival, which has now been postponed to October due to the coronavirus pandemic.

Lil Mayo, an alien-meme-turned-Instagram-influencer, ranked in third place on IQ’s Radar Station chart in January. The alien puppet’s single ‘Be Gone Thot’ has almost 14m streams on Spotify and over 11m on YouTube.

“Over the last few years, we’ve watched the team at Brud create a true multi-hyphenate in Miquela,” says Adam Friedman, CAA global client strategy executive. “We are excited to jump in and help her navigate the world of television and film, and also see a unique opportunity for innovative, forward-thinking brands to align with a culturally relevant, icon-in-the-making.”

Founded in 2014, Brud has raised US$6.1m in funding from investors including Spark Capital, BoxGroup, Sequoia Capital and Founders Fund.

 


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Countdown to the Arthurs 2020: Andrew Parsons

Individuals and events will be crowned across 11 categories at the Arthur Awards Winners’ Dinner on 5 March, as the music industry’s response to the Oscars returns to the glamorous Sheraton Grand Park Lane hotel.

Last year’s 25th anniversary awards saw success for Britannia Row’s Bryan Grant, FKP Scorpio’s Folkert Koopmans, ICM Partners’ Kevin Jergensen and Live Nation’s Selina Emeny, as well as the teams at the Royal Albert Hall, British Summer Time Hyde Park and Mad Cool Festival, among others.

As the Emma Banks-hosted ceremony draws ever closer, IQ chats to some previous winners to find out what receiving an Arthur meant to them and to discover their biggest hopes and dreams for the future.

Up first is Andrew Parsons, managing director of the UK division of Ticketmaster, four-time recipients of the Arthurs’ Golden Ticket award.

 


Arthur has been very kind to us over the years. Well, every other year really but who’s counting? (I am). It is always great to receive recognition from within the industry but all the more so from a room full of event partners past, present and future to whom we owe so much. Even if half of them won’t remember who actually won anything come that painful next morning!

Arthur resides on the edge of a desk, where all awards should be kept. He unfortunately took a bit of a battering on the night though from victory laps with team TM. So, Arthur’s head is now somewhat disconnected from his pedestal.

It is always great to receive recognition from within the industry, all the more so from a room full of event partners past, present and future

Emma Banks’ regal-like presenting performance at the Arthurs is always very good value. And Alex Hardee’s stand-up routines are now pretty legendary. Overall though, it is that the awards do not take themselves too seriously that makes them so unique and such a positive experience – nothing that will overly get in the way of a good dinner with friends.

ILMC is a great opportunity to catch up with friends and colleagues from other territories. Our Ticketmaster Australia ticketing cousins always live up superbly well to all the stereotypes and are a guaranteed excellent night out every time.

On a serious note to finish, 2019 was the year we brought accessible ticketing online and mobile. All fans should be able to have the same level of access to buying tickets the way they want on any given on sale and we were determined to make that happen. It was also the year that digital tickets exploded onto the scene opening up so many opportunities. We can’t wait to see where 2020 takes us.

 


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‘A world of opportunity’: TikTok talks music marketing

With an estimated 500 million monthly users – the majority under 30, and many of them teenagers – short-form video app TikTok has quickly established itself as the go-to social platform for many Gen Z-ers.

Along with its predecessor, Musical.ly, TikTok has made stars out of ‘influencers’ like Baby Ariel, Jacob Sartorius, Riyaz Afreen and the Dobre Twins, and its young users helped meme Lil Nas X’s ‘Old Town Road’ – which went viral on TikTok (as part of the ‘Yeehaw challenge’) before receiving mainstream recognition – to the top of charts worldwide.

IQ caught up with Farhad Zand, head of music partnerships for TikTok Europe, to find out why TikTok works well for music discovery and marketing, the appeal of short-form video, and how concert businesses can reach its growing user base…

 


IQ: Let’s start with the basics. In layman’s terms, what is TikTok and what does it do?
FZ: TikTok is the leading destination for short-form mobile video. Our mission is the best way to understand what our platform is all about: we want to inspire and enrich people’s lives by offering a home for creative expression and an experience that is genuine, joyful and positive.

For our users, TikTok offers a window to the world with an intelligent discovery process. Video recommendations are personalised to each user based on their preferences, meaning everyone receives a unique and compelling viewing experience.

Our platform empowers creativity through 15- or 60-second videos; we believe short-form videos are an effective way to lower the barrier for content creation. This has empowered our community to create their own internet culture and trends. Fun music-related trends started on TikTok include the Adele gummy-bear challenge and the recent #GitUpChallenge, featuring ‘The Git Up’ by Blanco Brown.

How long has TikTok been around, and how does lip-syncing app Musical.ly fit into the picture?
TikTok launched globally in 2017 and later that year, ByteDance, TikTok’s owner, bought Musical.ly and merged the two apps. We entered the European market in August 2018 and TikTok is currently available in 150 markets and 75 languages.

When people talk about Musical.ly, they often know about how it was used for lip-syncing. Today, however, TikTok is about much more than just lip-syncing. We have a truly global community of authentic creators. Some of the most popular content includes comedy, sports, pets, music and dance.

“Our community enjoys creating and sharing content that is authentic and fun. This opens a world of opportunities to music and festival promoters”

How many users do you have, and what does the average TikToker look like?
I don’t think we have an average user, which is what I love about TikTok. You will find some celebrities on TikTok, you will find our own ‘TikTok stars’ – and you will also find that we have lots of brilliantly creative people using the platform to have fun, from nurses to firefighters to grannies. This represents the essence of the platform: a place where you can be genuine, real and discover other people like you.

While we don’t currently disclose our usage figures, we are growing fast and we’re thrilled with the growth that we have seen so far.

What are some of the ways live music companies can incorporate TikTok into their marketing?
TikTok supports the music industry by offering a unique platform for music to live. Artists can promote their music to a global audience and build a strong and engaged fanbase. We have seen new musical talents discovered due to unprecedented viral trends created on TikTok, such as Lil Nas X or, most recently, DJ Regard.

Over 70% of our videos have music attached to them and their content is often created as a response to the song. The TikTok community loves music and our community enjoys creating and sharing content that is authentic and fun. This opens a world of opportunities to music or festival promoters, and we have a dedicated music team that can support promoters and marketers to achieve their goals.

Every campaign is different; there is no one size fits all. Our music team has the knowledge and expertise to advise promoters and marketers on the best strategy to achieve their results, whether they are big or small players in the market.

“There’s huge potential for the music industry to connect with its global community in a meaningful, engaging and positive way”

How are artists utilising the TikTok platform?
Over the past 12 months, we are proud to have welcomed outstanding British musicians including Ed Sheeran, Mabel, Lewis Capaldi, Four Diamonds, Jax Jones, Little Mix and many more to the TikTok community.

One of the most popular hashtag challenges was launched by Ed Sheeran. With over 300 million views during the first six days, the #BeautifulPeople challenge incentivised our community to share a moment with the most special and beautiful people in their lives.

For any artist considering how best to use TikTok, it’s important to remember that our platform is all about positivity and having fun. It’s why Lewis Capaldi was an immediate success – his content is fun and spontaneous.

For the music industry, what advantages does TikTok have over other social media services?
Unlike other platforms, TikTok is based on a content graph instead of a social graph. What this means in practice is that the quality of the content you see is what’s most important – not who you follow or how many followers you have.

Our community loves content that is authentic, entertaining and which reduces the distance between the fans, artist, band or show. There’s huge potential for the music industry to connect with its global community in a meaningful, engaging and positive way.

Our focus is on building the best product for our users while creating a community that is joyful, positive and safe. We want to continue to be a platform for music to live in its various forms, working closely with artists, labels and other industry players to support them connect with our global and engaged community.

 


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Live royalties growth surpasses radio/TV in 2018

Music collections grew almost 2% in 2018, generating €8.5 billion, with the growth of live/background music royalties surpassing that of frontrunner TV/radio.

The most recent figures released by Cisac, the association that represents global copyright collection societies, show the traditional revenue streams of TV, radio, live and background music – that played in restaurants, bars and clubs – “continue to be the backbone of royalties collections”, despite the “mass migration to digital channels” in recent years.

In Cisac’s Global Collections Report 2019, which documents overall royalties collected in the areas of music, audiovisual, visual arts, drama and literature, the association’s director general, Gadi Oron, puts “comparatively modest” growth down to the “devaluing effect of the exceptionally strong euro”.

Revenue from live and background music combined has grown 0.8% from 2017 to €2.6bn, while TV and radio has seen a decline of 3.1%, generating €3.3bn.

In conjunction with TV/radio’s decline, live/background royalty collections surpass that of broadcast in Italy and Chile. Live and background royalties reach €322 million in Italy (-0.9% year-on-year) and CLP10,960m, or €13.43m, in Chile (+8.4% YOY).

“The large traditional revenue streams continue to be the backbone of royalties collections”

Europe remains the largest region for collections, generating over 50% of global music revenues. According to the report, the live music sector “continues to grow healthily across Europe, with strong demand for concerts and festivals.” Live/background collections lead the way in Europe, rising 1.4% in 2018 to €1.7bn, and by 11% over the past five years.

Live collections are also up in Asia-Pacific by 3.1% to €306m and 2.2% in Canada/USA to €345m. Elsewhere, royalties are down -0.9% in Africa (17m) and 9.5% to €194m in Latin America and the Caribbean, where live music still remains the leading source of collections.

Digital is where Cisac president Jean-Michael Jarre sees the “future”, with increasing subscription revenues driving growth of 185% over the past five years.

“More than ever, societies are working in a landscape of fragmenting income sources,” writes Oron. “This calls for more versatility: protecting the large traditional collections streams of live, background and broadcast, while striking new deals to monetise creators’ works on YouTube, Facebook and other digital platforms. The role of authors’ societies in generating monetary value for millions of creators has never been more vital.”

 


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Forum Melbourne to be first fully digital venue in Oz

Forum Melbourne (2,000-cap.) will be the first venue in Australia to adopt a fully mobile ticketing service, powered by Ticketmaster.

The partnership between Ticketmaster and Marriner Group will allow the venue operator to utilise the latest tool in Ticketmaster’s portfolio, offering fans an easy and secure ticketing system.

“Digital ticketing is the future and our partnership with Marriner Group is another step in our mission to put mobile first,” says Maria O’Connor, managing director of Ticketmaster Australia and New Zealand.

“Getting the technology live across all shows at the iconic Forum Melbourne is a huge milestone in this journey making fans lives easier,” adds O’Connor. “By replacing paper and print-at-home tickets we can speed up venue access, while also protecting venues against fraud and enhancing security overall.”

The launch of mobile ticketing at Forum Melbourne follows a successful roll out of digital tickets for the Harry Potter And The Cursed Child theatre shows at Marriner Group’s Princess Theatre in Melbourne.

“Getting the technology live across all shows at the iconic Forum Melbourne is a huge milestone in this journey making fans lives easier”

Speaking of the experience at Princess Theatre, Marriner Group director Kayely Marriner comments: “The platform is extremely user-friendly and convenient.”

The first events to go on sale at Forum Melbourne with 100% digital tickets will be shows for Maribou State, James Blake and Tycho, promoted by Secret Sounds.

“Innovating is critical to us here at Secret Sounds,” says co-chief executive. Paul Piticco. “A fully digital ticketing system means less scalping, safe and easy transfer to friends, and a better environmental outcome by not printing or producing tickets. We are in!”

Live Nation-owned Secret Sounds promotes Australian festivals including Splendour in the Grass and Falls Festival.

According to the International Ticketing Yearbook 2018, Ticketmaster is one of two dominant primary ticketing companies in Australasia, with TEG-owned Ticketek.

As part of its digital ticketing service, Ticketmaster recently launched SafeTix in the United States. SafeTix issues tickets with encrypted, automatically refreshing barcodes, preventing duplication and allowing organisers to identify each attendee at their event.

 


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Superstar UK YouTuber Jacksepticeye signs with WME

William Morris Endeavor (WME) has added to its growing roster of digital stars by signing popular YouTuber Jacksepticeye from its London office.

Irish-born, British-based Jacksepticeye, real name Sean McLoughlin, has more than 21 million YouTube subscribers (50th in the world), along with nearly 6m followers on Instagram and 5m on Twitter. McLoughlin is best known for his ‘Let’s Play’ gaming series and vlogs of his life, and has also embarked on a live career with his How Did We Get Here tour, which played mid-sized venues in Norway, Denmark, Sweden, the UK and the Republic of Ireland.

Representation by WME is for all areas, and sees McLoughlin join a digital roster that also includes internet personalities Joe Sugg, Andrea Russett and Jake Paul. He continues to be represented by manager Nicole Graboff and lawyers Ryan Pastorek and Adam Kaller.

All major Hollywood agencies, including WME, CAA, UTA and Paradigm, have rosters that include YouTubers and other digital ‘influencers’, and the trend has in the past few years crossed the Atlantic, thanks to the success of events including Summer in the City and the Meet and Greet Convention.

“The market is definitely getting bigger, and there’s no reason at all why this can’t be an arena-level headline business in the next three to five years,” WME London agent Alex Bewley told IQ in 2017. “Rather than just clicking a ‘like’ button on Facebook or subscribing to a YouTube channel, fans are increasingly buying tickets to see a show by their favourite creators.”

 


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“A setback but not the end”: Rights bodies lament Article 13 defeat

Collecting societies and performance rights organisations across Europe have reacted with disappointment to the rejection of the proposed EU Copyright Directive by MEPs earlier today.

In the run-up to today’s vote, music industry bodies and their counterparts in the tech sector were sharply divided on the merits of the new directive, especially its controversial Article 13: songwriters’ representatives say the legislation would ensure fair remuneration of creators when their works are used online, while internet freedom activists, including the web’s creator, Tim Berners Lee, have said it would transform the internet into a “tool for the automated surveillance and control of its users”.

Music biz, internet on collision course ahead of Article 13 vote

The directive’s critics are particularly concerned that Article 13 – which would compel “online content sharing service providers”, such as social networks or video-sharing sites like YouTube, to take “effective and proportionate” measures to combat the sharing of copyrighted works – would require the implementation of automated copyright checking systems, dubbed “censorship machines” or “upload filters”.

Members of the European Parliament (MEPs) voted this morning 318–278 in favour of rejecting the bill in its current form, with a further plenary session debating its content set for September. “I regret that a majority of MEPs did not support the position which I and the legal affairs committee have been advocating,” says German MEP Axel Voss. But this is part of the democratic process. We will now return to the matter in September for further consideration and attempt to address people’s concerns while bringing our copyright rules up to date with the modern digital environment.”

Robert Ashcroft, chief executive of the UK’s PRS for Music, says lobbying by big tech companies – if you believe UK Music, €31m from Google alone – influenced the outcome of the vote. “It is perhaps unsurprising, considering the unprecedented level of lobbying and the comprehensive campaign of misinformation which has accompanied this vote, that MEPs want more time to consider the proposals,” says Ashcroft.

“The vote showed that many MEPs across the various European political parties understand the importance of fixing the transfer of value and of a well-functioning market for copyright. We appreciate their support and hope that as we move forward to the plenary debate in September, more MEPs will recognise the unique opportunity to secure the EU’s creative industries.

“We will not be discouraged by today’s decision, and will continue to mobilise the support of musicians and music lovers across the world”

“From the outset, our primary focus of this legislation has been concerned with whether or not the internet functions as a fair and efficient marketplace – and currently, for artists and authors, it doesn’t. They want their creative works to be heard, they embrace technology, but they want to be paid fairly. We will continue to fight for what we believe is their freedom and a fair use of their creative works.”

David El Sayegh, the secretary-general of PRS’s French counterpart, Sacem, comments: “This vote is a setback but it is not the end. Sacem remains dedicated to ensuring that creators are recognised and remunerated for the value of their work. We will not be discouraged by today’s decision and will continue to mobilise the support of musicians and music lovers across the world, in the hopes of reaching a fair agreement with these platforms that will safeguard the future of the music industry.

“We are confident that the European Parliament will eventually support a framework that fully acknowledges the rights of creators in the digital landscape of the 21st century.”

BPI, the association of UK record labels and organiser of the Brit Awards, says in a statement: “We respect the decision by MEPs to have a plenary discussion on the draft Copyright Directive. We will work with MEPs over the next weeks to explain how the proposed directive will benefit not just European creativity, but also internet users and the technology sector.”

Gesac (the European Grouping of Societies of Authors and Composers), which represents 31 collection societies, says the defeat marks a “missed opportunity to fix the current unfairness in the digital market once and for all”.

“The EU parliament has recognised that machine censorship of copyrighted material is not an easy and simple fix”

“This vote was never about censorship or freedom of speech. It was only about updating the copyright rules for the 21st century and ensuring that creators get a fair remuneration when their works are used in the digital space,” says Gesac president Anders Lassen. “[U]nfortunately, manipulative campaigns orchestrated by tech giants, based on scaremongering, prevailed on this occasion. We are confident that the European Parliament will finally approve what is right for the future of the EU’s economy, competitiveness and fundamental values against these global forces”.

While PRS and their allies have sought to paint the ‘no’ vote as a temporary stay on the legislation while MEPs consider their options, the directive’s opponents are, unsurprisingly, claiming victory in what privacy campaigner Jim Killock, executive director of Open Rights Group, calls “round one of the robo-copyright wars”.

“The EU parliament has recognised that machine censorship of copyrighted material is not an easy and simple fix. They’ve heard the massive opposition, including internet blackouts and 750,000 people petitioning them against these proposals.

“Everyone across Europe who wants this fixed will have to work hard to make sure that parliament comes up with a sensible way forward by September.”

Meanwhile, Julia Reda, an MEP for Pirate Party Germany, tweeted that anti-Article 13 campaigners’ “protests have worked”:

The next vote will take place from 10 to 13 September 2018.

This article will be updated.

 


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