01 01FEB Cover_v8_cover template 29/01/13 19:06 Page 1 05 9 776669 776136 THE BUSINESS OF MUSIC www.musicweek.com 01.02.13 £5.15 BIG INTERVIEW VIEWPOINT PROFILE 12 22 20 John Reid on the difference Is it time for the industry to Patrick Moxey’s just done between labels and live - and start being a bit more deferential a big deal with Sony - bagging the Olympic Park towards its veteran execs? we sit down for a chat Calvin Harris king of songwriting in 2012 SECOND YEAR AT THE TOP FOR SCOTTISH DJ, PRODUCER AND SONY/ATV/EMI POP COMPOSER SONGWRITING artist albums chart in early Australian, Brazilian and I BY PAUL WILLIAMS January. Uniquely, seven of the South Korean. album’s cuts have made the Led by Harris, UK alvin Harris has finished top five of the UK singles songwriters make up 34.3% of C as the top hit songwriter chart, including most recently the Top 100 with the US in the UK for a second Drinking From The Bottle with marginally ahead with a 36.7% successive year, according to Tinie Tempah. share. Around one-fifth of the Music Week research. Harris beats into second place chart is made up of writers from The Scottish DJ and producer fellow Sony/ATV/EMI signing the rest of Europe with France, tops our exclusive countdown Sia Furler who scored a string of the Netherlands and Norway based on writing shares of the big songwriting successes last among the nations represented. Official Charts Company’s top year, including co-penning UK A second songwriters chart 100 downloads of 2012 after a No 1 singles Titanium by David based on the 20 top-selling artist run of successes including solo Guetta and Diamonds by albums of last year places singles Let’s Go (with Ne-Yo), Rihanna in addition to hits for Emeli Sande in first position We’ll Be Coming Back (with Flo Rida and Ne-Yo. with Sony/ATV/EMI colleague Example) and Sweet Nothing US band Fun, whose Ed Sheeran second thanks not (with Florence Welch) publishing is handled by only to his own album + but plus penning Cheryl’s chart- Sony/ATV/EMI and him co-writing two songs on topping Call My Name and hits Warner/Chappell, are third One Direction’s Take Me for Rihanna. following their breakthrough UK Home album. It is another triumph for hits We Are Young (featuring Minaj’s Starships and a run of Music Week’s annual The year’s other successful Harris who also achieved Janelle Monae) and Some hits for One Direction. songwriters chart has been newly album songwriters included substantial success in the US last Nights, while Swedish Universal-published Coldplay are extended from a Top 50 to a Top Mumford & Sons, Lana Del Rey year as a songwriter, producer songwriting and production duo fifth after scoring with Paradise 100 with the top end of the and Neil Diamond. and recording act, while his third Carl Falk (BMG Chrysalis) and and their Rihanna duet Princess countdown a geographical mix I Turn to pages 16 - 18 to read Columbia album 18 Months Rami Yacoub (Kobalt) are fourth Of China two of the biggest hits including Brits, Americans, Music Week’s 2012 songwriting returned to the top of the UK after helping to write Nicki of their career. Swedes, a Belgian-Australian, Business Analysis in full Dance music business: we’ve grown up It’s a movement known for big AFEM co-ordinator Ben president James Barton, A lot of what we do with the themselves to brands or investors parties, big characters and a fair Turner, who is also a partner at the president of electronic music at IMS, which I run, is about life and we’re in a position at the bit of naughtiness. International Music Summit and Sony Music Patrick Moxey and beyond this explosion: what moment where there are all sorts But the newly formed the manager of Richie Hawtin, Beatport CEO Matthew Adell. happens next and how do we of people swirling around this Association For Electronic told Music Week it was a “great sustain and stay where we are? industry and trying to get a piece Music (AFEM) has pointed to a achievement” to bring together That’s a big part of AFEM’s role of it. We need to be able to talk now ‘grown-up’ genre that makes heated business competitors from in the future.” about our worth and the value of it possible for ‘serious rivals’ to the dance world. AFEM is keen to begin what we do.” come together and form one Included in a 16-strong list of lobbying outside the music Nile Rodgers has been named voice for the currently booming names on the association’s Board Turner said: “The people industry towards government as an ambassador for the group, electronic music industry. of Advisors are agents such leading the electronic genre now and tech companies, but says for which he said he was AFEM, which launched at David Levy (William Morris are in their early Forties. its first priority is to commission “honoured” and “delighted to see Midem on Monday, is the first Endeavor), Maria May (Creative Everyone’s grown up and empirical research into the value the industry pulling together to new global genre-based trade Artists Agency) and Paul Morris matured and, while this is an of the genre. represent its interests”. body to launch since the Country (AM Only). They join the likes amazing time for the genre, we Said Turner: “Everyone in this I Turn to pages 2-3 to read Music Association in 1958. of Live Nation’s electronic music have seen it come and go before. industry is struggling to represent our Midem 2013 news special 02-03 NEWS_v8_News and Playlists 29/01/13 19:35 Page 2 2 Music Week 01.02.13 www.musicweek.com NEWS - MIDEM 2013 SPECIAL BEGGARS BOSS MAKES ROUSING SPEECH IN CANNES EDITORIAL Midem: over- Mills left ‘incensed’ priced, so why by global government not over here? treatment of artists HAVE you heard the industry’s favourite insult recently? No? Maybe that’s because you’re so ‘irrelevant’, man. MIDEM that income. Tainted with the residue of a business still teeth-gratingly “And to what economic end paranoid about being left in the dark ages, everyone’s slating their eggars Group co-founder for society are such tech favourite moving target with it - be that competitor, genre, format, B Martin Mills spoke companies favoured? My small artist, service, or - most presciently - event. passionately at Midem company, admittedly a very So it’s with a little trepidation that I take the bold move of telling 2013 over his anger surrounding successful one last year, apparently you just how, erm, relevant Midem 2013 seemed to me. the treatment of artists and paid more tax – at the proper rate Oh, it’s quiet. Ask any taxi driver in Cannes if Midem will be back rightsholders by both – in the UK last year than next year and you’ll get a tourist-unfriendly barrage of plus-size government and tech giants. Google, Facebook, Apple, and sacrebleu: they’ve seen attendance halve in a decade, it’s no Speaking as he collected his Amazon put together. How can longer worth their time, you English are unsophisticated swines. Billboard Icon award in Cannes, politicians discriminate in favour (Okay, okay - they don’t actually say the last one out loud.) Mills began his Sunday of companies who most citizens morning briefing by discussing would perceive as cheating the Beggars’ independent roots, and mistakes in their licensing taxman? In what way does that “Take away the Cartier and the Prada logos and praising the internet for “leveling practices. They still do.... But I make any sense at all for society? Cannes becomes every grain the dreary, chintzy the playing field” across the don’t believe that the present day “There are certainly industries Clacton clone. And the price? I’m not sure that’s music trade. industry is a reluctant licensor. which developing technology has doing the industry’s cause much good at all.” Those expecting that angle to “It does need help. Cross turned into dinosaurs – coal segue into major-bashing would border licensing is clearly a mining, horse drawn carriages, Yet for an industry with a clear and present need for a sense of have left disappointment, as problem, and the territorial for example. But the demand for modern day community, Midem works. Its aim to allow rights- Mills clearly stated that he was, structures that continue to the power that coal generated is holders and technological boundary-pushers to mix and - shock in fact, on the side of “the majors dominate a global licensing higher than ever, the demand for horror - agree face-to-face is both impressive and infectious. And in all the creative arts”. marketplace are clearly an transport is higher than ever. All the heart-warming image of entrepreneurial dance record and He did, however, raise his anachronism. We need help in that has changed is the delivery. publishing pushermen scurrying for sub-licensing friends from concerns over consolidation, not moving beyond that. “As with music, we are not around the globe still brings plenty of nostalgic cheer. least “Sony Music’s recent deal “But we do not need to have wedded to any single carrier, and There are, however, far less welcome sights. Take away the with Pandora, which illustrates control of our rights taken away over the last century have had Cartier and the Prada shopfronts, and Cannes quickly becomes succinctly why we’ve been from us, to be forced to license many – from 1888, when Emile every grain the grubby, chintzy Clacton clone.