News
COVID-19: PPL has donated $875,000 to Music Industry relief funds
The sum will be divided up amongst three COVID-19 relief funds, including AIM’s, Musician Unions’, and Help Musicians’.
Story Highlights
- The funds will be divided up amongst three COVID-19 relief funds.
- UK Music has called upon the British Government to give better support to the music industry amid COVID-19.
British music licensing company PPL (Phonographic Performance Limited) are giving back to their members. Today, the non-profit organization announced they were pledging a total donation of £700,000 ($875k) to three COVID-19 relief funds established to support music industry professionals. Of the sum, £200,000 ($250k) will be split equally between AIM’s COVID-19 Crisis Fund and the Musicians’ Union’s Coronavirus Hardship Fund. The remaining £500,000 ($625k) will go to the ‘Help Musicians Coronavirus Financial Hardship’ Fund.
After launching on March 15th with an initial pot of £5m, the Help Musicians Fund has had an overwhelming response – receiving over 17,000 applications.
Since then, Help Musicians has had additional donations from Spotify, Amazon Music, Arts Council for England, The Royal Society of Musicians, and now PPL. However, due to the volume of applications that have come in, they have now ceased accepting any new enquiries. Outstanding applications will still be processed, with approved ones receiving a one-off payment of £500 ($625).
James Ainscough, Help Musicians’ Chief Executive said: “We gratefully welcome the financial contribution and continued support of PPL to Help Musicians Coronavirus Financial Hardship funding.
“Demand for financial support has been overwhelming and we are seeing first-hand how the monies are supporting the many thousands in the music community who desperately need it. We are grateful to all of those who have responded to our plea for donations and this latest contribution from PPL will significantly boost our ability to help musicians”, he added.
Demand for financial support has been overwhelming
Musicians’ Union General Secretary Horace Trubridge stated: “The Musicians’ Union has been working around the clock to provide much-needed support and advice to its membership. PPL’s donation to our Hardship Fund will enable us to reach even more musicians who are struggling through these challenging times”
Differing slightly from the demographic of the Help Musicians and Musicians Union COVID-19 initiatives is AIM. The Association of Independent Music’s fund is more so targeted at music industry contractors and freelancers that were due to work with artists signed to AIM’s indie member labels prior to the coronavirus shutdowns. According to the company’s website, this includes ‘tour crews, studio producers, mixing engineers, radio pluggers, graphic designers, stylists, photographers, publicists’, and more.
Paul Pacifico, current CEO of AIM said: “The launch of the AIM COVID-19 Crisis Fund was a call to arms to ensure that all those working in the music industry, including contractors and freelancers who play such vital roles in the success of labels and artists, can weather these tough times.
“I am delighted that PPL has confirmed a donation to the fund which will increase the level of support we can provide in the short-term to these individuals”, he continued.
Approved applicants of AIM’s crisis fund will instantly receive anywhere up to £1,000 – depending on the amount of income lost.
With 96% of music businesses losing income over the past two months (a direct result of COVID-19), the widespread support given to those impacted is certainly much needed. Trade Body UK Music recently voiced strong concerns to the British Government, regarding the need for better assistance to individuals in the music industry – particularly the ‘lower earners’.
In a statement address to British Government officials, UK Music shared: “Many in our industry are directors of their own small firms“.
However, company directors are disqualified from the self-employed scheme and cannot furlough themselves as this would stop their businesses from operating. They need urgent government help to make sure these individuals, often low earners, do not slip through the net”.
This was in response to a government stimulus package offered to self-employed workers. Whilst sole traders (the UK equivalent of a sole proprietor) are covered in the package, company directors are not. These, however, make up a significant portion of those working in the music business – from some artist managers/management companies, pr firms, independent record labels and beyond.
Prior to making this £700,000 donation, PPL just recently made a quarterly royalties payout of £87.6 million ($11million) to its right holder member – sent March 31.
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MBN Staff
Analysis
Canada Slashes Kendrick Lamar’s Radio Play By 25%, While Drake Sees a 10% Decline In The U.S.
MBN Exclusive: New Soundcharts Data Shows The Cogs Working Behind Rap’s Hottest War.
Story Highlights
New data provides unprecedented insight into the underlying methodology of the Drake-Kendrick feud crucial to understanding the broader battle for hip-hop supremacy.
Few rivalries in the high-stakes world of hip hop superstardom have captured the cultural zeitgeist as completely as the recent feud between ‘Rap Gods’ Drake and Kendrick Lamar. Being two of the genre’s OGs, their every move sent reverberations through the music industry and beyond. A lot of the conversation around the ‘slugfest’ revolved around the surface-level spectacle of the diss tracks and opinions among fans, but the real narrative that shapes this feud is the one presented in the data (the streaming numbers, radio spins and listener trends that provide an insight into the way the two superstars’ strategies prior to the ‘war of words’ helped them to navigate this war behind the scenes.
A Geographic Dividend
As we previously reported at Music Biz Nation, data from Luminate – a premier music analytics company – showed an slight difference in how Drake and Kendrick diss tracks were being consumed regionally versus internationally in comparison to their overall catalogs. In Kendrick’s case, American listeners were responsible for 62.2% of streams on his Drake diss tracks, 11.5% above his typical 50.7% U.S. share. Meanwhile, Drake saw only a small boost in U.S. streams for his Kendrick disses, bumping from 58.9% to 60.1% – with the remainder coming from international markets.
Getting more specific, Kendrick’s top listenership on Spotify stems from Los Angeles (also his top radio market), London and Chicago (all seeing a 2-3% monthly increase in the past month). Drake still comfortably maintained an 82.5 million to Kendrick’s 78 million in Spotify monthly listeners over the past 28 days, with his top markets on the platform being London, Los Angeles, and New York. Notably, Drake saw a 1-2% dip in listenership in all three of his top markets, while Kendrick gained ground in each of them.
The Streaming Showdown: Loyalty vs. Virality
In the wake of Kendrick’s numerous diss tracks, including the most popular of them all “Not Like Us,” (amassing 280 million streams and 2,000+ playlist placements on Spotify alone) his monthly Spotify listener count surged by an impressive 27 million. Drake, meanwhile, saw a comparatively modest dip of 1.5 million monthly listeners since the start of the feud, with his most popular Kendrick-diss “Family Matters” totaling a mere 66 million Spotify streams and 700 playlists on the platform. On the surface, this might suggest a clear win for Kendrick. However, a deeper dive into listener retention rates tells a more complex story.
Drake’s retention rate actually increased from 105% to 109% during this period, indicating that his core fanbase remains remarkably steadfast in their loyalty, even in the face of Kendrick’s onslaught. Additionally, Drake’s monthly listener count on Spotify, even after a 1.5 million dip, still towers over Kendrick’s but only slightly at 82.5 million to 78 million – a much closer gap than before the ‘war’.
Kendrick, on the other hand, saw his retention rate plummet from 43% to 38%, suggesting that many of his newly-gained listeners may be more curious onlookers than devoted fans.
This data paints a picture of two contrasting strategies – one focused on cultivating deep, lasting loyalty, the other on generating viral moments and sparking widespread curiosity. While Kendrick’s approach may be winning the battle for short-term attention, Drake’s strategy could prove more effective in the long-term war for enduring dominance.
Kendrick’s cultural references in his diss tracks is likely what ignited and engaged more of his U.S. audience. Meanwhile, the strength of his overall catalog has allowed Drake to rely on his status as a global superstar, betting on the continued reliability of his massive global audience to absorb any blowback.
Radio Waves Shift: Kendrick's Domestic Surge
Soundcharts data also point to a change in radio play dynamics over the last month. While Drake’s radio spins dipped slightly in the U.S. (-9%) and U.K. (-6%) – two of his top markets – Kendrick Lamar has seen an 80% increase in U.S. radio play in the wake of feud. Lamar’s increased radio play in the U.S. was, unsurprisingly, driven by airplay of “Not Like Us” in the Los Angeles area (his home county) on stations such as Power106 and KRRL-FM Real 92.3 (responsible for Kendrick’s highest number of global radio plays over the last month).
Most tellingly, but somewhat expected, the LA-based Real 92.3, the station that has been Kendrick’s staunchest cheerleader, cut Drake’s airplay by a staggering 30% during the month of May.
This domestic dominant radio surge for Kendrick, coupled with the increase in U.S. streaming share for his diss tracks might speak to the effectiveness of his regionally-focused strategy in comparison to Drake’s. And with the U.S. being the biggest market for the Hip Hop genre, it is not difficult to see why a strategy like this has created such an impact in his battle with the Toronto-based rapper.
In Drake’s case, despite facing slight challenges in the U.S. radio market during the feud, the ‘6 God’ has managed to maintain his global radio dominance by making up ground key local and international markets in regions such as France (up 12%) and his home country of Canada (up 8%), where Kendrick has seen a 25% decline in airplay.
In saying that, like Drake, Kendrick has also compensated by making significant progress in other international radio markets over the past month – such as Nigeria (+104% in spins) and portions of Europe (U.K. +40%, Belgium +27%, Germany +26%, ).
Kendrick's Viral Breakthrough: The TikTok Wildcard
Where Drake may be ahead in terms of the raw numbers of streams and spins of his overall catalog, when it comes to the virality of this feud, Kendrick has taken the crown by more than a mile.
In just one month after its release, “Not Like Us” was the soundtrack for 560,000+ TikTok videos and 1.4 billion views, quickly becoming his third most popular song on the platform as lead artist (surpassing “We Cry Together”, from his most recent album ‘Mr. Morale & The Big Steppers’). The uptick is arguably a testament to Kendrick’s ‘hidden’ ability to create a moment that lands with TikTok’s wide audience often moved by the winds of popularity – something Drake was more known for excelling at prior to the feud. Drizzy’s most popular TikTok song “Tootsie Slide” has amassed 2.8 million videos and 8.2 billion views, compared to Kendrick’s 1.1 million videos and 1.3 billion videos for his most popular TikTok song “HUMBLE”. Notably, “Not Like Us” has accumulated more TikTok views than “HUMBLE.” with half the number of videos, speaking to its undeniable cultural impact.
Drake’s most popular song in the ‘back and forth’ with Lamar, “Family Matters”, stands at just 1,800 TikTok videos and 7.5 million views.
In an era where a single viral moment can redefine an artist’s trajectory, Kendrick’s overwhelming TikTok triumph in this feud could be an extremely powerful weapon in his arsenal. If he can sustain this momentum and translate the buzz into lasting listener growth and engagement, it could dramatically redefine of his overall positioning. Should the feud continue in any way, this is a wildcard that Drake (despite his overall dominance) cannot afford to ignore.
Looking Ahead...
With all that said, one thing is clear: the Drake-Kendrick beef was much more than a rap beef. As the reams of data show, it’s a rich, multifaceted playbook for how different strategies can determine equally impactful yet completely different outcomes. Every artist has their own unique arsenal of strengths and strategies — Drake’s unbreakable global grip and resistance to wobble in the storm, Kendrick’s gift for the viral moment and local relevance — which we’ll continue to watch with his future releases.
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MBN Staff
Entertainment
Sony Reportedly in Talks for $1 Billion Queen Catalog Acquisition
Source says discussions between Queen and Sony Music over the British band’s catalog sale have been ongoing since last year.
Story Highlights
Sony’s potential deal for Queen’s music assets could make it the biggest single-artist catalog acquisition in history.
According to multiple outlets, sources report that iconic British rock band Queen has been seeking a valuation of around $1.2 billion for its music assets, which consist of both publishing and master recording rights jointly owned by the band’s surviving members Brian May, Roger Taylor and John Deacon, as well as the Freddie Mercury estate. Bloomberg first reported that Sony Music is the undisclosed suitor currently in an exclusive negotiating window with Queen, working with an unnamed financial partner.
Music Business Worldwide originally broke news of the catalog being shopped for a 9-figure sum in May 2023, noting that major labels like Universal Music Group and private equity players had engaged in discussions.
Of course, putting together a deal of this magnitude and complexity, especially with multiple stakeholders involved, comes with no guarantee of closer. As a cautionary example, sources say Pink Floyd’s attempt to sell their catalog for $500 million collapsed in 2022 due to band members having differing priorities.
Inside Queen's Financial Performance
Music Business Worldwide also reported that Queen Productions Ltd, the UK entity housing the band’s recordings, reported £40.89 million ($50.41m) in turnover for the fiscal year ending September 2022, a 4.3% increase over 2021. Profit before taxes jumped 31.6% to £22.16 million ($27.41m).
Much of this growth likely stems from the popularity boost following the band’s 2018 biopic Bohemian Rhapsody. In fact, the FY2022 revenue figure more than tripled Queen’s £12.34 million turnover ($16.72m) in FY2016 before the film’s release. The band’s enduring appeal is further evidenced by the nearly 38 million album consumption units and 46 billion on-demand global streams their catalog has amassed since 1991, according to Luminate and reported by Billboard.
Implications of a Billion-Dollar Sale
If completed in the $1 billion range as reported, Queen’s sale would handily surpass Bruce Springsteen’s $500 million+ catalog deal with Sony in 2021 to become the biggest transaction for a single artist’s body of work. It would also dwarf the $600 million Sony allegedly paid in February for 50% of Michael Jackson’s catalog. Though, technically speaking, with only the remaining 50% sold, the deal with the Jackson estate valued the late King of Pop’s catalog at $1.2 billion – slightly above than the reported $1 billion offer of Queen’s work, if that number is exact.
However, Queen’s situation is a little more complicated due to Disney Music Group’s current rights to their master recordings in North America under the Hollywood Records umbrella. Any acquirer would need to navigate that structure and DMG’s global distribution pact with Universal.
The stratospheric valuations attached to evergreen hit songs have enticed artists to cash in on their life’s work, accepting a one-time capital gains tax rather than annual income taxes on royalties. But as the Hipgnosis Songs Fund has demonstrated, aggregating catalogs at premium prices fueled by cheap debt doesn’t automatically translate into strong returns. Blackstone’s takeover of Hipgnosis following a shareholder revolt underscores the potential risks of catalog acquisition sprees.
Queen, though, stands apart as one of the most commercially successful acts in history, notching six No. 1 singles and 10 No. 1 albums in the UK across five decades. With the right promotion and synch opportunities, dozens of their songs like “Bohemian Rhapsody,” “We Will Rock You,” and “Another One Bites the Dust” have the potential to generate substantial returns for decades to come. But at a $1 billion entry price, Sony or any other buyer will need to be confident they can unlock significantly more value to make the numbers work.
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MBN Staff
Canada Slashes Kendrick Lamar’s Radio Play By 25%, While Drake Sees a 10% Decline In The U.S.
Sony Reportedly in Talks for $1 Billion Queen Catalog Acquisition
Drake vs. Kendrick: How Their Diss Track Data Reveals Divergent Paths to Streaming Dominance
Albums Chart Data: Swift & Eilish Dominate UK & US Listings
Global Indie Body WIN Publishes AI Principles for the Music Industry
