Whether you're investing, operating or earning from music copyright, you ought to know how much it's all worth — and how each piece of the puzzle is trending.

Everyone agrees: the music streaming economic model needs to change. Yet no alternative to the status quo, which has remained unchanged for two decades, has captured the consensus.

Theaters have always 'sold the house' expensive seats first, cheap last to improve cash flow and reduce risk. Music should do the same, releasing vinyl to superfans before it goes on streaming.

Billboard | PDF Version

Imagine checking your phone today and seeing the headline “Spotify launches web app to ‘Canadify’ your music selection.” You’d be forgiven for thinking this is in response to the recent passage of the Online Streaming Act – but you’d be wrong.

Music Ally | Music Business Worldwide | The Logic | Billboard

With Fan Powered Royalties, Soundcloud changed the rules. Read on for this exclusive insight into how that changed the game.

There’s not much money in podcasts – that we all know. And where there is money to be made – it’s the US. We need to find out why, and if that’ll change.

First thing’s first: Why do I go into a bat cave every October and calculate this figure? The primary answer is policy. There’s an axiom in lobbying circles that politicians are more likely to respond to bigger numbers than smaller ones. This work gives us that number.

Our analysis of ten European markets uncovers a phenomenon that we’ve termed ‘glocalisation’, where the majority of countries studied saw an absolute and relative increase in the domestic share of their top ten songs and artists in 2022. Contrary to the perverse effects of globalisation where large markets often dominate small, we uncover evidence of local markets growing in their domestic identity.

At the 43rd session of WIPO's Standing Committee on Copyright and Related Rights, Will Page was invited to present his perspective on Equitable Remuneration, addressing the policy options and their unintended consequences. This report provides WIPO Member State Governments with the evidence base for discussion on this important issue.

In the increasingly competitive attention economy, music periodically needs to take stock of its true worth. The annual task of calculating the global value of music copyright enables such an appraisal, looking not just at record labels but also publishers and collective management organisations (CMOs).

In 2019, British gig-goers spent GBP £1.7 billion on concert tickets (or ‘box office’), a fifth more than the £1.4 billion that consumers spent on recorded music in the same 12 months.

The discovery of a very old report sheds new light on just how much the entire music copyright industry has grown since the heyday of CDs, and who got what share.

There’s a booming market in assessing the state of post-Covid recovery.

Taking stock of the twentieth anniversary of the 9.99 price point

Music should know how much it's worth. Calculating the global value of music copyright provides the answer.

Tarzan Economic is a one-way ride: you can read it in many ways, I recommend you take the plunge and listen to the songs (and watch the films) referenced.

Music needs to know how much its worth.

“The best way to be relaxed is to be prepared” - I remember those words from a lecturer at University in Scotland.

This year’s curriculum is already out of date.

Back when this journey began I was told ‘writing a book was a terrible idea, it’s like playing tennis with yourself’.