Frequent postings from the FMC staff about the issues at the intersection of music, law, technology and policy.

SoundCloud Go's Launch Leaves Unanswered Questions

by Nicole Daley, Policy Intern

Last week, SoundCloud launched their new paid subscription service—yes, another on-demand streaming site. SoundCloud Go, as they’ve named it, promises many things such as a larger catalogue and maintaining the user-friendly interface they’re popular for, but when it comes to the details of artist compensation, it leaves much to the imagination. In other words they’ve decided not to disclose much information or have not yet figured everything out yet.  read more

Submitted by kevin on April 11, 2016 - 1:55pm

SXSW Music 2016: Here's Where We'll Be

SXSW is here again, and as usual, Future of Music Coalition staff and board are well represented at America’s biggest music conference. Amidst the BBQ, margaritas, and awesome music, we encourage you to make time to check out these can’t-miss panels and sessions featuring your favorite FMC superheroes.


Tuesday, March 15

Music, Apps, Devices: Next Gen? 3:30-4:30 PM read more

Warner & Sony Pledge to Share Potential Rewards of Spotify Sale With Artists

by Nicole Daley, policy intern

Think of your favorite song. Now think of how often you keep change in your pockets. Besides buying a record at retail, on-demand listening used to mean plunking cash money into a special machine called a jukebox. This bulky device, still found at dive bars and themed restaurants, would play your selection based on a combination of letters and numbers. These days, you can dial up music on-demand and on the go from the likes of Spotify, Rhapsody, Google Play, Apple Music and Tidal. These services offer huge catalogs of music, some of them for free, depending on whether a service has an ad-supported tier. This all sounds amazing, but it’s completely reshaped the way artists get paid.

Fully licensed, on-demand streaming (also known as “interactive”) has been around since 2006, when Rhapsody came online. As is often the case with experimental formats, at that point, no one was completely sure how adoption and economics would play out. Some predicted a new golden age for recorded music revenue; this may end up being the case for copyright owners with sizable catalogs (like major labels and some independents), but things look a lot different at the individual creator level. It’s not that the services are not paying out—according to Spotify, they deliver approximately 70 percent of their total earnings to copyright owners, which mirrors the percentages of most download stores—it’s more about deal structures, how pricing works, how it impacts other revenue streams, and how royalties are distributed.

read more

Submitted by kevin on February 11, 2016 - 11:47am



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