Blog: songwriters

In the 2021 report, “ Rebalancing the song economy ”, MIDiA introduced the idea of songs as mini industries. In the streaming era, songs are constantly revived and reimagined — and so long as you own the publishing, it does not matter if the version that becomes popular is the original, a cover, or an interpolation.

If you have been drawn into the particular orbit of pop music that includes Olivia Rodrigo, Chappell Roan, and Sabrina Carpenter, you probably know a thing or two about Dan Nigro. Fans have been joining the dots between Nigro and this cluster of emergent pop artists on social media — not only discovering his credits on hits like Chappell’s “Good Luck, Babe!” and Rodrigo’s “Vampire”, but also clocking that he is in the studio with Reneé Rapp and followed Carpenter on Instagram .

Over the past few months, singer-songwriter RAYE has been using her spotlight to campaign for fairer pay for songwriters — advocating for them to receive royalty points on master recordings, per diems for studio time, and more.

Songwriters are the backbone of the music industry; however, they are rarely in the spotlight. As with the rest of the industry, songwriters have seen their workflows and income sources turned upside down in the streaming and social media eras.

It is no news flash that the music business has a reputation for undervaluing songwriters. Despite being arguably the most important part of the song, the shift to streaming has been even more disastrous for songwriters’ remuneration than artists.

Music’s biggest on-again, off-again relationship just took a turn for the ugly, as Universal Music Group is pulling its music off TikTok. We have seen this movie before: Every time the music industry negotiates licenses with social platforms, the battle boils down to a question of who needs the other more.

The flood of new music created using artificial intelligence (AI) will further erode major label market share, and some label executives’ recent comments about the value of human-made music seem to put those fears in plain sight.

We are no stranger to TikTok and its impact on the music industry, which is changing the structure of the business one viral video at a time. Artists and composers are flocking to the innovative social media app with hopes of finding musical success, similar to that of 24KGoldn and Nathan Evans.

The #brokenrecord debate continues to build momentum and new models such as user-centric are getting increased attention, including at governmental level in the UK. But as Mat Dryhurst correctly observes , there is a risk of the market falling into streaming fatalism; that the obsession with trying to fix a model that might not be fixable distracts us from focusing on trying to build alternative futures.

The ‘broken record’ streaming debate that continues to rage on is a natural consequence of the instantaneous collapse of live music revenue following lockdown. As soon as it was clear that live was going to be gone for some time , MIDiA predicted that the artist backlash against streaming royalties would be a natural, unintended consequence .

Music Business Worldwide recently ran a story on how Apple has proposed a standard streaming rate for songwriters, with Google and Spotify apparently resistant. Of course, Apple can afford to run Apple Music at a loss and has a strategic imperative for making it more difficult for Spotify to be profitable, so do not assume that Apple’s intentions here are wholly altruistic.

Streaming economics are facing a potential crisis. The problem does not lie in the market itself; after all, in Q1 2019 streaming revenue became more than half of the recorded music business and Spotify hit 100 million subscribers.

Songwriter royalties have always been a pain point for streaming, especially in the US where statutory rates determine much of how songwriters get paid.  The current debate over Spotify, Amazon, Pandora and Google challenging the Copyright Royalty Board’s proposed 44% increase illustrates just how deeply feelings run.