Written evidence submitted by Verity Susman

Evidence to the DCMS – Economics of music streaming

Verity Susman

I am a self-employed/freelance composer, songwriter and artist. The majority of my streaming income comes from my former indie rock band Electrelane, which was active from 1998 – 2007 and signed to Too Pure Records, part of the large independent Beggars group of labels. (When I use the term ‘we’ or ‘our’ here I am referring to Electrelane, which had four members including myself). We had a publishing contract with Chrysalis Music (Chrysalis was taken over by BMG a few years ago). We toured internationally and released four studio albums, a compilation singles, b-sides and live album, an EP and numerous singles. Our back catalogues is available via streaming services such as Spotify. Since we split I have worked as a freelance composer for film, dance and theatre (this music has not been streamed). I have also worked as a solo artist - songwriting and performing live – and am currently working on my debut solo album to be released in 2021, which will be available on streaming services upon release.

I am submitting evidence because the economics of music streaming has an impact on me as a music creator, I believe the current system is unjust for artists, I think my evidence helps to demonstrate this, and I want to help improve the system for all musicians.

1. What are the dominant business models of platforms that offer music streaming as a service? Electrelane’s music was added to streaming services by our record label. Streaming services appeared several years after we had been dropped from our recording contract in 2007, which coincided with the band splitting. Beggars still owns the rights to the recordings they released so it was on this basis that our back catalogue was added to streaming services. I receive information on streaming income from three sources: • Record company statements (Too Pure – example in appendix) • Publishing company statements (BMG – example in appendix) • My own PRS statements (example in appendix) Up until now none of the royalties contained in the record and publishing company statements have actually been payable through to us, because we have until very recently been unrecouped with both record and publishing. We recouped this year with publishing so will start to receive royalties from them soon. We are still unrecouped with our record company so not yet receiving any royalties from them. The streaming income I have received so far has been via PRS, so their statements have been my main source of information, and PRS has made good progress in creating a user-friendly online portal to view statements and royalty data. BMG have recently followed suit (see screenshot in appendix). Transparency and presenting data in an accessible way are important. I do not feel that I have a clear enough understanding of the details of how streaming royalties are apportioned. We were told in 2016 (letter in appendix) that the royalty rate we would be getting from the record label for streaming revenue would be reduced from 30% to 25%, which is slightly above the contractual rate (15% I believe). However, this applies a fundamentally unfair benchmark, i.e. the rate we were given when we signed our record deal, to a new distribution model which did not then even exist. This was a chance for the record label to step up and offer a fairer revenue split with us as the artist, and they decided not to do that. The original deal signed in 2003, as most deals at the time, represented an unfair allocation of economic benefit between artists as providers of intellectual capital and the record label as providers of financial capital / investors. The fact that an increasing number of current deals are based on 50/50 profit sharing speaks for itself. Streaming companies did not have to provide financial capital to create our intellectual and creative output, and yet they derive an unfair share of economic benefit from it. This adds insult to injury when it comes to fair revenue distribution between all stakeholders in the music industry, and arguments trying to portray them as the “saviours” of the music industry are nothing but smoke and mirrors. As physical sales of music have declined, and streaming has overtaken downloading, artists have seen their income from music sales reduce dramatically. The income I have so far received from streaming, via PRS, is negligible. Even when I start to earn streaming royalties from publishing and record companies, the rates paid per stream are so low that the income is not sustainable for any artist other than the very highest selling. Artists now earn the lion’s share of their income from performing live, rather than from live and record sales as it previously was, and when live performance goes – as it has with Covid-19 restrictions - streaming income is nowhere near enough to fall back on. As my negligible streaming income has so far come from a past project it is not something I have needed to rely upon yet, and I am fortunate for that: I had already pivoted into a different area of music creation (soundtrack composing) where streaming is far less significant. However, as I am about to release an album next year as a solo artist I also have the perspective of a current artist as well as a ‘legacy’ one, and I am concerned about how the low rates of artist streaming royalties will impact me financially and, linked to that, whether a solo artist career will even be feasible now in the way it would have been in the past. I also worry about young artists just starting out, without the chances I had when I began my career pre-streaming. Without sustainable income we will lose young talent who can’t afford to continue in music. Within the last year Electrelane has recouped with BMG (publishing), which means we are about to start receiving royalties from them (13 years after the band split). We are still almost £50k unrecouped with Beggars, but I was pleased to hear recently from the chairman of the Beggars group, Martin Mills (email below), that they write off unrecouped balances after 15 years, so we will start to receive royalties from them in 2022. My streaming income from Electrelane will increase when we start to receive these royalties, but that will be 13 – 15 years since Electrelane split. For artists at a similar level to Electrelane (e.g. can fill a 1500 – 2000 capacity venue in UK/Europe/USA; approx. 75,000 Spotify streams per month) who are currently active, and unrecouped, they will most likely also be waiting many years to see any meaningful income from streaming, when the time they almost certainly most need it is right now. If the UK wants to keep its vibrant music industry, and the £5.2 billion it contributes to the UK economy (https://www.musiciansunion.org.uk/Home/News/2019/Nov/Music-Industry- Contributes-%C2%A35-2-Billion-to-UK-Econ) then artists need to earn reasonable royalties now, not 15 years down the line when their careers are long gone. (I return to the issue of recouping at Q3 below). I think these things will improve the economics of streaming for me and other composers, songwriters and performers: • 1. The streaming model must be equitable, fair, transparent, efficient, and pro-creator.

• 2. It must value the songwriter and performer contribution to streaming more highly. • 3. It must include checks on the dominance of major music corporations on streaming marketing, licensing and distribution of streaming royalties.

• 4. It must stop information being hidden that enables conflicts of interest and prevents creators and performers understanding what they’re being paid and why.

• 5. It must include modernised royalty distribution systems to stop bad and missing metadata, and mis-allocated payments.

• 6. It must create the strongest environment for UK creators and ensuring UK songwriters, composers and performers do not fall behind on basic rights and protections.

2) Have new features associated with streaming platforms, such as algorithmic curation of music or company playlists, influenced consumer habits, tastes, etc? I think it has led to a homogenisation of music and a move towards the mainstream. The album format is in decline as people listen more to curated playlists rather than individual albums. My worry is that in order to earn a living songwriters will increasingly write songs with the aim of them appearing on popular playlists, which will result in a narrowing of creative output and a move to the centre ground. Even if looked at purely in economic terms, it is important that alternative/underground/avant garde artists are able to remain viable, because their music is what feeds the development of the mainstream: almost all the most successful and highest grossing musical movements/genres within ‘popular music’ grew out of alternative scenes, pioneered by artists who were operating far from the mainstream. This will improve the situation for composers, songwriters and performers:

1. Oversight of platforms so that algorithms are not biased, and provide equal access to the streaming market for all artists, songwriters and performers regardless of whether they are signed or not.

2. Full auditing and disclosure of the relationships between rights owners (music publishers and record labels) and streaming platforms to bring to light agreements, marketing partnerships and non-licence revenues. 3) What has been the economic impact and long-term implications of streaming on the music industry, including for artists, record labels, record shops, etc? In May of this year I tweeted from Electrelane’s Twitter account about the income we receive from Spotify, as part of the #FixStreaming campaign:

The number of streams is taken from the monthly figure Spotify listed on our Spotify artist profile in May 2020. I was referring to the money we get in our pocket from Spotify (so far we have only received Spotify royalties via PRS, due to being unrecouped). I used my most recent quarterly PRS statement at that time (April 2020) to calculate a monthly average for me and then multiplied it by four to give a total figure for the band (as the majority of our songs’ royalties are split equally between the four band members). The total was a little under £5. If anything, that figure was slightly higher than the actual band figure would be, as my royalty percentages on some songs are higher than those of the others in the band. I had never before looked specifically at the income from Spotify on my PRS statements, and having checked on subsequent statements this year I see that the amounts fluctuate somewhat from statement to statement (April: £3.39, July: £11.33, Oct: £27.36). So if I were tweeting now I would say that over a 9 month period in 2020 Electrelane took home an average of £18 in total for 70k – 75k streams. Not long after I tweeted in May, via Electrelane’s manager Martin Pike (who also manages me as a solo artist) I was emailed some information I hadn’t seen before from Martin Mills, the chairman of the Beggars group: 11/13/2020 Gmail - Numbers

Verity Susman

Numbers

Martin 27 May 2020 at 15:52 To: Verity Susman

Hi Verity, Martin Mills has had his royalty people do a little streaming royalty investigation, based on the Tweet from a couple of weeks ago, he's asked me to pass it on to you. Happy to discuss this if you'd like to. Cheerio, Martin

Martin's comments:

Below is information on their actual earnings, which are very much in excess of the numbers quoted. Not a fortune, admittedly, but sustainable income that has largely kept their royalty earnings in relatively good shape, and without which they would have undoubtedly tailed off. The spike in 2018 was due to their share of Spotify equity earnings.

We apply a streaming royalty rate of 25% rather than the contactual rate. Also, as you are aware, we have a policy of writing off unrecouped balances after 15 years, which for them will be 2022, so at that point royalties will start being paid out.

I should add that on Spotify they get £60 for every 75k streams

Royalty accountant's comments:

On the current statement (Dec19) their Spo fy royalty earnings were £886.11 for a total of 1,122,512 streams. That works out approx. 0.00079 per stream. I have included Spo fy streams + royalty earnings for the last 3 years in the summary.

Their last album with Beggars came out in April 2007 so we would normally write-off their balance in the first half of 2022.

See below Spo fy figures from the latest royalty statement (July to Dec 19, also a ached).

All amounts in GBP.

Royalty Ne is our streaming income (before commissions).

Total Payable is their share of the income at 25% streaming royalty rate.

They are unrecouped by -£49,541.08.

Item Sold Track Name Sum of Sum of Royalty Sum of Total Royalty Per Quan ty Ne Payable Unit GBBNZ0300058 Birds 212,557 617.03 154.26 0.00073 GBBNZ0300057 The Valleys 114,862 368.40 92.10 0.00080 GBBNZ0300061 Enter Laughing 104,010 348.79 87.20 0.00084 GBBNZ0600016 To the East 108,967 338.22 84.55 0.00078 GBBNZ0300066 I'm On Fire 71,031 241.58 60.40 0.00085 GBBNZ0300065 You Make Me Weak At the Knees 48,817 164.45 41.11 0.00084 GBBNZ0300056 On Parade 51,336 164.39 41.10 0.00080 GBBNZ0300055 Gone Under Sea 29,417 96.09 24.02 0.00082 GBBNZ0300060 Oh Sombra! 25,539 83.39 20.85 0.00082 GBBNZ0600017 A er the Call 26,696 80.71 20.18 0.00076 GBBNZ0600015 The Greater Times 19,836 64.70 16.17 0.00082 GBBNZ0600019 In Berlin 21,092 63.32 15.83 0.00075 GBBNZ0300059 Take the Bit Between Your Teeth 16,687 55.49 13.87 0.00083 GBBNZ0600022 Saturday 16,735 54.85 13.71 0.00082 GBBNZ0600024 Cut and Run 16,291 54.00 13.50 0.00083 GBBNZ0600020 At Sea 16,083 50.04 12.51 0.00078 GBBNZ0300062 This Deed 14,606 47.89 11.97 0.00082 https://mail.google.com/mail/u/0?ui=2&ik=c18ed2edb7&view=lg&permmsgid=msg-f:1667859484272031914 1/2

Electrelane Royalty Earnings 14,000

12,000

10,000

8,000

6,000

4,000

2,000

0 2H11 2012 2013 2014 2015 2016 2017 2018 2019

DIGITAL STREAM TOTAL ROYALTY EARNINGS

All Amounts in GBP

Band Royalty Earnings:

Format 2H11 2012 2013 2014 2015 2016 2017 2018 2019 Total % Total DIGITAL STREAM 741 1,560 2,388 1,620 1,971 3,576 2,857 2,463 2,512 19,688 40% SYNC 1,985 2,084 7,716 1,046 1,386 1 1,750 661 15,650 32% LP 32 12 520 1,784 623 564 574 382 285 4,777 10% DIGITAL ALBUM 615 429 487 440 363 201 254 133 85 3,006 6% SPOTIFY EQUITY 2,651 2,651 5% CD 453 342 356 125 100 74 80 80 60 1,670 3% DIGITAL SINGLE 233 231 137 123 108 89 147 79 66 1,213 2% FACEBOOK 125 191 315 1% OTHER 8 9 1 1 24 16 13 4 10 76 0% TOTAL ROYALTY EARNINGS 4,066 4,667 11,605 5,139 4,575 4,521 5,675 6,579 3,208 49,047 100% SPOTIFY: 1,901 1,627 1,702

Band Royalty Earnings %:

Format 2H11 2012 2013 2014 2015 2016 2017 2018 2019 DIGITAL STREAM 18% 33% 21% 32% 43% 79% 50% 37% 78% SYNC 49% 45% 66% 20% 30% 0% 31% 10% 0% LP 1% 0% 4% 35% 14% 12% 10% 6% 9% DIGITAL ALBUM 15% 9% 4% 9% 8% 4% 4% 2% 3% SPOTIFY EQUITY 0% 0% 0% 0% 0% 0% 0% 40% 0% CD 11% 7% 3% 2% 2% 2% 1% 1% 2% DIGITAL SINGLE 6% 5% 1% 2% 2% 2% 3% 1% 2% FACEBOOK 0% 0% 0% 0% 0% 0% 0% 2% 6% OTHER 0% 0% 0% 0% 1% 0% 0% 0% 0% TOTAL ROYALTY EARNINGS 100% 100% 100% 100% 100% 100% 100% 100% 100% SPOTIFY: 33% 25% 53%

Spotify Streams & Royalty Earnings (excluding Equity):

Royalty Year Streams Earnings 2017 2,213,611 1,900.56 2018 2,033,675 1,627.42 2019 2,160,190 1,701.78 TOTAL: 6,407,476 5,229.76 Beggars royalty accountant put this information together on request from Martin Mills. It would make sense for this sort of comprehensive, clear and succinct data to be provided more readily to their artists as a matter of course rather than in response to a tweet.

Given that we are unrecouped, and so not yet receiving any royalties from Beggars, I also think it is disingenuous of Martin Mills to refer to our “actual earnings, which are very much in excess of the numbers quoted.” Those earnings are currently going into the Beggars bank account and we will not start receiving those royalties until 15 years after Too Pure/Beggars dropped us from our record contract.

Being unrecouped means we have not yet finished paying off the costs the record company incurred through, for example, recording, manufacturing records, marketing, touring and advances (over a five year period the band received three advances of £25,000 – split four ways between band members). We will almost certainly never recoup before 2022, and I am pleased that Beggars writes off its unrecouped balances after 15 years. However, I do not believe the system of recoupment is fair for artists. Recoupment deals are where record companies recoup what they have spent on an artist solely through the artist’s royalties. This means, for higher grossing artists, that they have likely reached profitability many times over before they start to pay the artist. This is unjust. With streaming payments so low it is an unsustainable situation where artists do not receive royalties until long after their careers have ended (and may never receive them if their label does not write off unrecouped balances). Some balance needs to be brought into the system which is currently so skewed against artists. Here are three things I want to see happen, to fix streaming and keep music alive: 1. An equitable model that enables greater value to be placed on the song. 2. A fairer model where the major music corporations do not dominate the marketing, licensing and distribution of streaming royalties. 3. Greater transparency to stop information being hidden that enables conflicts of interest and prevents creators and performers understanding what they’re being paid and why.

5. Do alternative business models exist? How can policy favour more equitable business models? It is worth noting the spike in royalty earnings in 2013 in the above graph (Q3). This was due to several Electrelane tracks being used in a film soundtrack. If the film industry can pay out for musicians, why not the music industry itself? There are lessons to be learnt from the film industry in terms of the value it places on music. Radio broadcast is a more equitable model for artists than streaming. Bandcamp, where digital streams, downloads and physical sales can be purchased directly from artists and labels, offers far higher returns to artists than streaming companies. The popularity of this model is growing among music fans who want to see artists earning a sustainable income, and I would urge the committee to look at what they do. Independent record companies now offer profit share deals (50/50 deals) which are fairer for artists than recoupment deals. User-centric models for streaming mean that the platform’s subscription fee is distributed between the artists actually listened to, rather than the current system which favours the biggest artists. This may be a more equitable approach. There is not enough transparency, oversight, and protections for music creators.

The way record and publishing contracts work, the way streaming royalties (and indeed royalties more broadly) are apportioned, and other legal/rights issues in music, are often poorly understood by artists, and I think part of this is due to obfuscation on the part of companies who have a vested interest in artists not fully understanding. The way the music industry functions needs to be made much less opaque, so artists can make more informed career decisions and protect their interests better. Please listen to and work with the Musicians’ Union - they are the organisation that stands up for artists and protects our interests. The industry needs regulation - it has been a wild west for too long and artists have borne the brunt of that. It is not sustainable any longer.

Here are three further things I want to see happen:

1. More transparency and opportunities for scrutiny, so that current market distortions can be exposed and reformed.

2. Ensuring a level playing field through regulation can enable ethical business models to become the norm. Not all platforms are the same, and not all music companies are the same; some are demonstrating that more equitable business models can be adopted.

3. The reclassification for performers of streaming as a ‘communication to the public’ rather than ‘making available’ (for songwriters, streaming already has this classification). This would generate royalties to be paid through a collection society such as PPL (like radio does), help unrecouped artists as it would generate new royalties for them that they wouldn’t get direct from a label, and generate an income stream for session musicians who currently receive no streaming royalties. Appendix:

Please let me know if you would like me to send you complete copies of royalty statements or any additional documentation (I could not attach the BMG and Too Pure/Beggars statements in full here, and I have included a truncated PRS statement).

This is a screenshot from BMG’s online royalty portal for Electrelane: Summary Statement January 2020 to June 2020

Electrelane (Songs Up To 30/07/2004) Royalty Balance 11 Wilbury Crescent Hove East Sussex BN3 6FL £ 1,670.85 United Kingdom This period

All amounts are in £

Royalty Balance Payment Royalties Transactions

6.57 0.00 728.46 935.82

Prior Period Prior Period This Period This Period

Royalties By Income Type Total: £ 728.46

109.32 241.13 121.62 143.20 113.19 Mechanical Digital/New Media Synchronization Performance Others

Top Performing Songs Top Territories

^ 1 On Parade 246.21 United States of America 278.38

^ 2 Enter Laughing 81.58 France 150.95

^ 3 Gabriel 55.56 Brazil 130.38

^ 4 Birds 41.75 United Kingdom 102.04

^ 5 The Valleys 40.96 Germany 20.13

You can download the detailed statement on www.mybmg.com Payee: (026563) Electrelane (Songs Up To 30/07/2004) Account: (026563) Electrelane (Songs Up To 30/07/2004) BMG Tax No.: 74861/13205 Tax No.:

(026563) Electrelane (Songs Up To 30/07/2004) Page 1 of 128 BMG Rights Management (UK) Ltd, 8th Floor, 5 Merchant Square, London W2 1AS, United Kingdom Summary Statement January 2020 to June 2020

Electrelane (Songs Up To 30/07/2004) Royalty Balance 11 Wilbury Crescent Hove East Sussex BN3 6FL £ 0.00 United Kingdom This period

All amounts are in £

Royalty Balance Payment Royalties Transactions

0.00 0.00 935.82 -935.82

Prior Period Prior Period This Period This Period

Royalties By Income Type Total: £ 935.82

238.58 294.31 0.00 255.20 147.73 Mechanical Digital/New Media Synchronization Performance Others

Top Performing Songs Top Territories

^ 1 To The East 173.05 United States of America 348.44

^ 2 In Berlin 140.90 France 234.94

^ 3 Between The Wolf & The Dog 67.17 Germany 198.09

^ 4 Tram 21 65.45 United Kingdom 89.99

^ 5 Atom's Tomb 61.35 Canada 10.61

You can download the detailed statement on www.mybmg.com Payee: (026563) Electrelane (Songs Up To 30/07/2004) Account: (029785) Electrelane (Songs After 01/08/2004) BMG Tax No.: 74861/13205 Tax No.:

(029785) Electrelane (Songs After 01/08/2004) Page 1 of 68 BMG Rights Management (UK) Ltd, 8th Floor, 5 Merchant Square, London W2 1AS, United Kingdom ROYALTY STATEMENTS FOR 30/06/2020

Point Based

Artist Contract ELECTRELN_0001

Reported Bi-Annual Electrelane TOOELEC9-9

Electrelane

Summary of Earnings for Period ending: 30/06/2020 All figures in GBP

Opening Bal Royalties Recoupables Res Held Res Rel Adjustments Closing Bal -49,541.08 1,814.04 0.00 -33.97 38.04 0.00 -47,722.98

Advances 0.00

Costs 0.00 (A04) Third Party Royalties 0.00

Percentage Splits of Royalties by Rev Stream Downloads 4.2% Other income 5.4%

Physical Streams 9.4% 81.0%

Powered By Korrect Royalties Software 09 Oct 2020 17:28:53 Page 1 of 119

Letter from 2016 Notice of Payment Member Name: Susman Verity CAE Number: 00438407942 Distribution Number: 2020101 (Oct 2020)

Distribution 2020101 Notice of Payment

£.p Your PRS Performing Royalty Total 367.07 £367.07

Paid as Directed Ms Verity Susman £367.07 BACS ****** ****1861

No United Kingdom tax has been deducted from this PRS payment.

To update your address or bank details, please log onto your online account and follow the link 'amend my personal details'.

If you would like detailed electronic statements of your royalty payments, you can get this delivered by email at every distribution. Please visit www.prsformusic.com/estatements for more information. However, please note that only primary online account holders can activate this service.

Performing Right Society Ltd 2 Pancras Square, London, N1C 4AG www.prsformusic.com

Registered in England, No. 134396, VAT Reg. No 440 6342 76. 100% recycled paper. Your PRS Performing Royalty Statement Usage Summary Member Name: Susman Verity CAE Number: 00438407942 Distribution Number: 2020101 (Oct 2020)

PRS Distribution 2020101 Usage Summary

Top 5 Earning Works Work Title Tunecode Royalty £.p

To The East 5946930N 48.75 Suzanne 143118DU 48.08 In Berlin 5946945K 41.20 If Not Now, When 5149835P 36.16 On Parade 4262281N 25.64 Your PRS Performing Royalty Statement Usage Summary Member Name: Susman Verity PRS Distribution 2020101 CAE Number: 00438407942 Distribution Number: 2020101 (Oct 2020)

Usage Description Royalty Tax Withheld £.p £.p Amazon 1.22 Amazon Prime 0.76 Apple Music 4.12 Australasian (APRA) Online 1.21 0.06 Austrian (AKM) General & Broadcasting 0.15 BBC Brit Africa Low Peak 0.04 BBC Brit Africa Non Peak 0.06 BBC Brit Poland High Peak 0.03 BBC Brit Poland Non Peak 0.05 BBC Four (SPD) 0.09 BBC iPlayer 0.48 BBC Radio 6 Music Non Peak 3.72 BBC Radioplayer 0.70 Belgian (SABAM) Films 0.55 Brazilian (UBC) General & Broadcasting 0.76 0.13 Brazilian (UBC) Online 0.15 0.03 Canadian (SOCAN) Films 0.59 0.07 Canadian (SOCAN) General & Broadcasting 0.64 0.07 Chilean (SCD) Films 0.11 0.01 Czech Republic (OSA) Contingencies 0.11 Czech Republic (OSA) General & Broadcasting 0.27 Danish (KODA) Films 3.32 Danish (KODA) General & Broadcasting 0.50 Danish (KODA) Online 0.74 Dave (SPD) 0.14 Dave Low Peak 0.46 Dave Non Peak 0.21 Deezer 0.45 DJ Events 0.12 Emusic 0.94 French (SACEM) Films 0.16 French (SACEM) General & Broadcasting 33.14 French (SACEM) Online 2.87 GEOL - All4 1.22 GEOL - Amazon (DTO) 0.08 GEOL - Amazon (PV Only) 0.04 GEOL - Amazon (Rental) 0.09 GEOL - Amazon Prime (Annual) 0.48 GEOL - Amazon Prime (Monthly) 1.00 GEOL - Netflix 4.60 Your PRS Performing Royalty Statement Usage Summary Member Name: Susman Verity PRS Distribution 2020101 CAE Number: 00438407942 Distribution Number: 2020101 (Oct 2020)

Usage Description Royalty Tax Withheld £.p £.p German (GEMA) Films 31.70 German (GEMA) General & Broadcasting 55.61 Gold (SPD) 0.06 Gold High Peak 0.03 Gold Non Peak 0.01 Google 0.09 Hungarian (ARTISJUS) Films 2.17 Hungarian (ARTISJUS) Private Copying 0.19 Irish (IMRO) Films 0.26 Irish (IMRO) Online 0.15 Japanese (JASRAC) Online 2.49 Mexican (SACM) Online 0.41 Napster 0.03 Netherlands (BUMA) General & Broadcasting 3.10 Netherlands (BUMA) Online 0.11 New Zealand Films 0.24 0.01 New Zealand Online 0.10 Norwegian (TONO) Films 0.26 Norwegian (TONO) Online 0.08 Portuguese (SPA) Private Copying 0.04 SACEM Tax Refund 125.96 Serbia and Montenegro (SOKOJ) General & Broadcasting 0.13 Soundtrack Your Brand Sweden AB 0.01 South African (SAMRO) Films 1.10 Spanish (SGAE) Films 1.10 Spanish (SGAE) General & Broadcasting 1.36 Spanish (SGAE) Online 0.07 Spotify 27.36 Sundance Now - Amazon Channels 0.71 Swedish (STIM) Films 2.33 Swedish (STIM) Online 1.94 Swiss (SUISA) Films 0.44 Swiss (SUISA) General & Broadcasting 3.91 TV 1000 Scandi Primetime Commercials (NSPD) 0.05 TV1000 Action East (NSPD) 0.03 TV1000 Balkans (NSPD) 0.02 TV1000 Premium Baltic (NSPD) 0.69 TV3 Puls Denmark (SPD) 0.69 TV6 Norway (SPD) 4.66 TV8 Sweden (SPD) 1.43 UK General Recorded (Other) 1.02 Your PRS Performing Royalty Statement Usage Summary Member Name: Susman Verity PRS Distribution 2020101 CAE Number: 00438407942 Distribution Number: 2020101 (Oct 2020)

Usage Description Royalty Tax Withheld UK General Recorded (Pubs) £.p 0.12 £.p UK General Recorded (Restaurants & Cafes) 0.52 Uruguayan (AGADU) General & Broadcasting 0.08 0.02 USA (ASCAP) General & Broadcasting 1.08 USA (ASCAP) Online 9.22 USA (ASCAP) Television & Cable 13.17 USA (BMI) General & Broadcasting 3.93 USA (BMI) Television and Cable 0.17 Xandrie S.A. 0.18 YouTube 0.09 Total : £367.07 £0.40