School Of Rock Wins 2021 Franchise Innovation Award For Its School Of Rock Method App™
School of Rock has been recognized with a 2021 Franchise Innovation Award for Most Innovative Use of Customer-Facing Digital Tools for its School of Rock Method App, powered by MatchMySound™. Announced by Franchise Update Media, the third-annual awards honor industry-disrupting franchisors who have created and implemented the most original, successful, and innovative strategies and tactics to build their brands. School of Rock competed against 100 entrants and received the first-place category ranking for the Products & Services Innovation Awards.
"We are honored to receive a 2021 Franchise Innovation Award for our School of Rock Method App and its role in our patented music education pedagogy," said Rob Price, CEO of School of Rock. "The Method App makes practicing fun, accelerating the pace at which our students can learn songs, develop skills, and take the stage."
School of Rock's revolutionary Method App™ is an invaluable tool for students. It contains all of the exercises from the School of Rock Method Books™, along with transcriptions of more than 1,000 songs. The Method App™ is used by School of Rock teachers to assign exercises and songs, and to provide feedback and comments. Students can manipulate playback, tempo and backing track audio to help them learn.
School of Rock provides students of all ages an exciting and engaging learning environment for taking guitar lessons, drum lessons, bass lessons, keyboard lessons, and singing lessons. Drawing from all styles of rock and roll, School of Rock students learn theory and techniques via songs from legendary artists such as Aretha Franklin, Lenny Kravitz and Led Zeppelin. Thanks to the school's patented performance-based learning approach, students around the world have gained superior instrumental skills and confidence on the big stage, with some moving on to record deals and larger platforms such as American Idol, The Voice and Broadway.
About School of Rock
School of Rock helps aspiring musicians master skills, unleash creativity, and develop tools they need to thrive in life. Founded as a single school in Philadelphia, Pa. in 1998, School of Rock has become a rapidly growing international franchise with over 350 schools open and in development across 15 global markets. Since 2009, School of Rock has grown its student count from 4,000 to over 40,000. School of Rock offers a wide variety of music lessons, including guitar lessons, singing lessons and piano lessons. The company also sells musical instruments and music gear through its GearSelect program. School of Rock was awarded US Patent 10,891,872 in 2021 for its innovative music education method. School of Rock also has garnered the following industry awards: 2021 Franchise Innovation Award for Most Innovative Use of Customer-Facing Digital Tools; 2021 Global Franchise Awards Best Children's Service and Education Franchise; 2021 Entrepreneur Magazine's Franchise 500 Top Children's Music Enrichment Brand; Franchise Business Review's Top 200 Franchises of 2021; 2020 Entrepreneur Magazine's Top 200 Franchise and the #1 Child Enrichment Franchise; and 2018 Forbes # 2 Best Franchise Medium-Level Investment Award and the #1 Music Franchise in America.
86% of U.S. Consumers Believe Creators Should Own And Control Their Works
The vast majority of U.S. adults (86%) believe creators should own and control their music and creative works, according to new research released today by Downtown Music Holdings?, the leading global music services company. The findings were part of Downtown's first Music Business Consumer Pulse Survey, a nationally representative survey of U.S. adult consumers aged 18 and up fielded by Morning Consult™. According to the survey results, fair compensation for artists is highly important to U.S. consumers. Seven in 10 respondents believe music companies should be responsible for ensuring that the artists they represent are treated and compensated fairly. However, only 29% of those surveyed feel music companies actually do this.
"There is a wealth of music industry data available, but very little of it examines how consumers perceive the changes underway in the global music business. Given these shifts occurring have a direct impact on consumers' own enjoyment of music - from the type of music they engage with to when and how they access music - we thought it made sense to gain a better understanding of consumer sentiments and habits around music consumption and prominent industry trends," Downtown CEO Justin Kalifowitz said.
People are listening to more music from a wider range of artists, primarily through streaming services. Ninety percent of U.S. adults said they are frequent music listeners (listening at least a few times a week) and 54% listen to music multiple times a day. Since the pandemic began, a plurality of adults are more likely to listen to a wider range of artists and to new artists, as well as use music streaming services. Nearly 3 in 4 U.S. adults listen to many different artists and genres on a given day (71%) and nearly 2 in 3 enjoy sharing music with friends (63%).
While consumers are increasingly turning to streaming services for access to music, not everyone is willing to pay. More than one in four U.S. adults (28%) who use music streaming services do not pay for any of them; adult consumers in the U.S. are most likely to pay for SiriusXM®, Apple Music® and Tidal™. Adults who do not pay for music streaming services mainly choose not to because they are satisfied with the free version or can find music elsewhere for free. Only 32% of those who said they do not pay for streaming services cited cost as the reason.
Nearly all adults agree artists should own and control the rights to their music (86%), be compensated by music streaming services (83%), and should control where their music is available to the public (81%). About one-third of adults (32%) are in support of a user-centric model while a similar amount (33%) don't know or don't have an opinion. Over 2 in 5 adults (44%) believe music streaming services should pay artists between 1%-50% of their profits from playing the artists' songs, while 1 in 4 have no opinion. A majority of respondents (60%) believe musicians and artists should determine the fair rate music streaming services should pay them.
When it comes to industry perceptions, U.S. adults are five percentage points more favorable toward independent music companies than major music companies. Adults most commonly associate independent artists with having full control over their music, creativity and being new to the industry, but there is confusion about how the term is defined, or if it even matters; a plurality of U.S. adults (50%) do not consider an artists' record label when seeking out new music.
As streaming platforms continue to grow exponentially and the economics of music evolve for creators worldwide, Downtown supports artists at any scale by empowering them to seamlessly distribute, license, market and collect royalties on their music. Downtown is the largest pure-play service provider in the global music business, managing more than 23 million music assets on behalf of more than 1 million creators.
The poll was conducted by Morning Consult among a national sample of 2,200 U.S. adults. The interviews were conducted online from June 4-6, 2021, and the data were weighted to approximate target samples based on age, race/ethnicity, gender, educational attainment, and region. Results have a margin of error of plus or minus 2 points.
Downtown Music Holdings (Downtown?) is the leading global music services company. We help millions of creators, rights holders and their partners to manage their music as a business and get paid fairly for their work. We service more than 23 million music assets from more than 145 countries across six continents, including some of the world's most well-known songs, from a catalog that spans 100 years of popular music, including music for film and television, and the single largest independent sound recording catalog in the industry. Our integrated platforms help democratize global music rights management and simplify the distribution, monetization, and promotion of creative works. Working with creators at every stage of their career, from emerging songwriters to iconic performers, our business model drives equity across the entire global music industry supply chain.
Ooh Aah...Just a Little Bit More Eurovision
With the 65th Eurovision Song Contest final fast disappearing over the horizon, PRS for Music has revealed a chart of the Most Played Eurovision UK Entries.
Topping the chart is 1996 entry 'Ooh Aah…Just A Little Bit', performed by Gina G.
This year marks 25 years since the Australian-born singer was chosen to represent the United Kingdom, when the 90s high energy Euro-pop tune placed eighth at the 41st Eurovision Song Contest. While it missed out on victory in the grand finale, its impact across the globe highlights why, a quarter of a century on, we still can’t get enough of this British guilty pleasure.
Last year, 'Ooh Aah…Just A Little Bit' received 478,636 seconds (or 5.5 continuous days) of UK radio and TV airtime, proving to be an enduring favourite with the British public, earning its place at the top of the PRS Most Played Eurovision UK Entries Chart.
Written by PRS for Music members Steve Rodway and Simon Taube, 'Ooh Aah…Just A Little Bit' spent 27 weeks in the UK Official Singles Chart, peaking at Number 1. International commercial success followed and across the Atlantic it spent 30 weeks on Billboard’s Hot 100, earning Gina G a GRAMMY nomination in 1997 for Best Dance Recording.
Based on data provided by PRS for Music, the organisation which represents the rights of over 155,500 songwriters, composers and music publishers, the chart lists the most played United Kingdom Eurovision entries broadcast across UK radio stations and TV channels in 2020.
Due to the COVID-19 pandemic, the Eurovision Song Contest was cancelled in 2020. Embracing the Eurovision spirit however, the British public still backed singer-songwriter James Newman’s entry, 'My Last Breath', which places second on the PRS Most Played Eurovision UK Entries Chart. My Last Breath was written by Newman alongside acclaimed British songwriters Adam Argyle, Ed Drewett and Iain James. James co-wrote the winning song for Azerbaijan, 'Running Scared' performed by Ell & Nikki, at the Eurovision Song Contest in 2011. Newman is also a featured songwriter on BRIT Award-winning hit 'Waiting All Night', performed by Rudimental featuring Ella Eyre.
James Newman returnedthis year as the United Kingdom’s Eurovision entry, with his newly penned hit, 'Embers'. The track was co-written alongside some of the UK’s most sought-after songwriters and producers Samuel Brennan, Tom Hollings, Conor Manning and Danny Shah.
Also featured in the PRS Most Played Eurovision UK Entries Chart is 1981’s winning song, 'Making your Mind Up', composed by John Danter and Nigel Hill and performed by Bucks Fizz. Formed especially for the Eurovision Song Contest, Bucks Fizz created one of the most memorable moments in Eurovision history with that famous on-stage costume transformation.
1967 Eurovision winner 'Puppet on a String', performed by Sandie Shaw, and 1968 entry 'Congratulations', performed by Cliff Richard, also appear in the PRS Most Played Eurovision UK Entries Chart. Written by PRS for Music member Bill Martin, who sadly passed away in 2020, both songs were co-written with Martin’s longstanding writing partner, Phil Coulter.
Sixty-five years on, the Eurovision Song Content continues to divide the nation. Love it or hate it, its entertainment value and ability to mint certified pop classics can’t be denied. The PRS Most Played Eurovision UK Entries Chart is testament to the brilliance of British songwriting and performance. In the contest’s long history, only once has the United Kingdom had to finish with ‘nul points’.
PRS Most Played Eurovision UK Entries Chart
1 Ooh Aah Just A Little Bit - Gina G 1996
2 My Last Breath - James Newman 2020
3 Making Your Mind Up - Bucks Fizz 1981
4 Save Your Kisses For Me - Brotherhood Of Man 1976
5 Love Shine A Light - Katrina & The Waves 1997
6 Beg, Steal Or Borrow - The New Seekers 1972
7 Congratulations - Cliff Richard 1968
8 Love City Groove - Love City Groove 1995
9 Puppet On A String - Sandie Shaw 1967
10 Boom Bang-a-Bang - Lulu 1969
Dua Lipa Named The UK’s Most Played Artist Of 2020
UK music licensing company PPL has announced its Most Played Charts of 2020, with Dua Lipa ranked the most played artist of the year after a string of hit singles from her BRIT award-winning second album Future Nostalgia1.
With an upbeat retro pop and disco sound, the album was released four days after the start of the UK’s first national lockdown in March 2020 and became the soundtrack for many during the pandemic. Two singles from the album – ‘Don’t Start Now’ and ‘Physical’ – made the top 10 most played tracks of the year as The Weeknd took the No. 1 spot with ‘Blinding Lights’, which was also the year’s most streamed hit2. Last month, the Canadian won his first ever BRIT Award for International Male Solo Artist.
PPL’s annual charts are compiled from exclusive music usage and airplay data from radio stations and television channels as well as public performance locations, showcasing the music that soundtracks our lives.
Rise To Number One
It is the second time that Dua Lipa has appeared in the top ten of PPL’s most played artist chart, having occupied eighth place in 2018 as a result of the success of ‘One Kiss’, her collaboration with Calvin Harris. This year’s number one spot further highlights her status as a chart-topping pop superstar.
It also reflects how her music connected with listeners during an incredibly challenging year when the UK spent many months at home under lockdown. This latest success for Dua follows Future Nostalgia winning Best British Album at last month’s BRIT Awards where she was also named British Female Solo Artist.
Dua Lipa’s success knocks Ed Sheeran from the top spot, which he has held every year since 2017. However, he was still the second most played artist of the year, mainly due to his strong back catalogue. ‘Afterglow’, his only release of 2020, did not come out until late December. Ariana Grande was the year’s third most played artist, the first time she has appeared in PPL’s top ten artists chart, thanks to hits including her Lady Gaga collaboration ‘Rain On Me’, which was the year’s 10th most played track.
In a reversal on recent trends, there is only one collaboration amongst 2020’s top five most played tracks – Kygo and Whitney Houston’s ‘Higher Love’, at number three. Since 2008 collaborations have received an increasing share of radio airplay, culminating in four of 2019’s top five tracks featuring more than one artist. Indeed, ‘Higher Love’ is a repeat entry, having been released in June 2019 and coming sixth in that year’s most played tracks chart. Only one other track since PPL started its charts in 2008 has appeared in the top ten in multiple years – P!nk’s ‘What About Us’, which was 2017’s ninth most played track and 2018’s tenth most played track.
Ed Sheeran, Calvin Harris and Sam Smith, who were the three most played artists of 2019, are also among 2020’s top five most played artists. Sheeran takes second place, Smith is fourth and Harris is in fifth position. Alongside Coldplay and Little Mix, Harris has been in the top ten most played artists chart every year for the last five years, from 2016 to 2020. Meanwhile, Coldplay have achieved the unmatched feat of having been one of the ten most played artists for eight of the last ten years. Coldplay finish in seventh position on the 2020 chart, one place below Little Mix.
Dua Lipa, 2020’s most played artist, said:
“Thank you so much to everyone that listened to and loved my music during 2020. I’m incredibly proud that I was the most played artist on radio, TV and all across the UK. I so wanted Future Nostalgia to bring some happiness during such a difficult time. Thanks to everyone who supported it and also to PPL, who do important work in making sure artists and musicians are paid when their music is played.”
Peter Leathem, Chief Executive Officer at PPL, said:
“Music’s power as a force for good was needed more than ever in 2020 as we faced a year like no other. The artists in our 2020 charts played a significant role in helping many of us to get through these difficult times and I would like to congratulate them all. I am also immensely proud of the work that PPL did last year, collecting royalties for the public performance of recorded music and distributing these to the performers and record labels that created it. With live music shut down for much of 2020, PPL’s royalty payments became an even more important source of income for these artists.”
PPL’s Most Played Charts of 2020 are announced as the company hosts its AGM and publishes its Annual Review, detailing last year’s financial and operational results. In 2020 PPL collected a total of £225.7 million for performers and recording rightsholders. It distributed money at least once to over 135,000 performers and recording rightsholders.
The Royal Mint Places The Who Centre Stage On A New Range Of Coins
The Royal Mint, the Original Maker of UK coins, has today launched a new range of collectable coins celebrating the iconic British band – The Who. To celebrate the launch of the coin, co-founder and lead singer of The Who, Roger Daltrey, visited The Royal Mint to strike one of the very first coins, giving the band’s seal of approval on the new coin and its design.
The Who collectable coin is the fourth in The Royal Mint’s ‘Music Legends’ series, and follows coins in honour of Queen, Elton John and David Bowie. The coin’s dynamic design includes some of the most iconic symbols from the band’s live and loud performances – including a union flag, Mod logo and speaker-smashing Rickenbacker guitar. Together, the symbols on the coin form a pinball table, a nod to the single Pinball Wizard and album Tommy, one of the band’s most famous creations. With the latest colour printing technology, elements of the coin have been digitally printed to showcase the vibrant red, white and blue of the band’s emblem..
Using the latest innovative technology and manufacturing techniques, a number of coins will feature a special ‘shockwave’ effect, radiating from the speaker - elevating the detail of the coin. Designers and craftspeople at the Mint have developed this effect in honour of The Who’s record-breaking loud concert - a record that was held for a decade.
Clare Maclennan, Divisional Director of Commemorative Coin at The Royal Mint said, “The Who are an iconic British band with an incredible musical legacy, so it felt right to honour them with an official UK coin. The Who coin is the latest in our show stopping Music Legends series, which celebrates legendary British artists through original new designs. It was a privilege to have Roger Daltrey visit the Mint to strike one of the first coins and meet the team of makers that have created this wonderful design. Our Music Legends series is engaging new generations of coin collectors, and we hope this design will become a cherished part of fan’s memorabilia.”..
Roger Daltrey, Co-founder and Lead Singer of The Who said, “It’s an honour to have a coin produced to celebrate The Who’s musical legacy. The coin’s design captures the true essence of the band and what we represent. It was a fantastic moment being able to strike one of the very first pieces in the collection and see the range of technologies and processes involved in the making of the coin.”
Pete Townshend, Lead Guitarist of The Who said, “I am delighted that the band's work is being recognised by this fantastic range of coins from The Royal Mint.”.
The Who began with three schoolboys who all shared a love of music, from jazz and skiffle, to rock and rhythm & blues. The band was initially made up of John Entwistle, Pete Townshend, Roger Daltrey and later joined by Keith Moon. With a musical legacy spanning more than 50 years, and an impressive record of a 100 million albums sold worldwide, over a billion global streams, members of the Rock & Roll Hall of Fame and the UK Music Hall of Fame, the BRIT and GRAMMY Award winning, The Who, are considered by many today as ‘The Greatest Rock and Roll Band in the World’.
Brought together by The Royal Mint and Bravado, Universal Music Group’s leading merchandise and brand management company, The Who coin is available as limited-edition precious metal proof editions as well as a Brilliant Uncirculated edition. The Brilliant Uncirculated coin is also available in colour exclusive to The Royal Mint. View the full collection on The Royal Mint’s website at
School Of Rock Opens First School
School of Rock is opening its first school in Madrid, Spain, the first entry into Europe for the franchise. Paulo Portela, School of Rock's master franchisee in Brazil, Spain and Portugal will open 28 schools throughout Spain and Portugal over the next 10 years.
"We are thrilled for School of Rock to have a presence in Europe and help support the next generation of artists," said Rob Price, CEO of School of Rock. "Paulo Portela has already made such a positive impact on students in Brazil, and with his devotion to the School of Rock brand, he is the ideal person to lead this expansion across Spain and Portugal",
The new school, located in Pozuelo de Alarcón, will be owned by Luigi Lubelli, his wife Cristina Fernández and her brothers Ángel, Marcos and Alfonso. "This is the first of 20 Schools planned to be opening soon in Spain. We're excited with the impact School of Rock will have in Spain and Europe families," says Fernando Augusto, CEO of School of Rock Spain and partner in the Brazil, Spain and Portugal Holding.
"We chose to launch School of Rock because it offers the opportunity to both run an attractive business and truly make a difference in the lives of children and adults," said Luigi Lubelli. "We are elated to bring this fun performance-based music-education curriculum to Spain."
The Madrid school's launch marks the 15th country open or in development for School of Rock. There are currently 291 existing School of Rock locations open and operating across 11 countries including the United States, Canada, Mexico, Brazil, Peru, Chile, South Africa, Australia, Philippines, Paraguay, and Spain. School of Rock will be opening locations in Taiwan, Ireland, Colombia and Portugal later this year.
School of Rock provides students of all ages an exciting and engaging learning environment for taking guitar lessons, drum lessons, bass lessons, keyboard lessons, and singing lessons. Drawing from all styles of rock and roll, School of Rock students learn theory and techniques via songs from legendary artists such as Aretha Franklin, Lenny Kravitz and Led Zeppelin.Thanks to the school's patented performance-based learning approach, students around the world have gained superior instrumental skills and confidence on the big stage, with some moving on to record deals and larger platforms such as American Idol, The Voice and Broadway.
Johnny Mercer Foundation Songwriters Project Participants Announced
The Johnny Mercer Foundation (JMF) and the American Music Theatre Project (AMTP) at Northwestern University will continue their partnership with the 16th annual Songwriters Project. Participants from around the world, including the U.S., U.K. and Tanzania, will take part in an intensive week-long program of virtual master classes and workshops from their homes.
The program will be presented in an all-digital format from June 20-26, with a virtual concert showcasing the songwriters’ work slated to premiere in July.
This year, over 200 applicants, hailing from 13 countries, including the U.S., Poland, Abu Dhabi, Italy, England, Sweden, Portugal, Canada, Japan, China, Turkey, Brazil and the Netherlands, applied for the 13 spots in the prestigious program, which has been a catalyst to the careers of many artists. Among the program alumni are Tony, Oscar and Golden Globe Award winners Benj Pasek and Justin Paul ("La La Land", "Dear Evan Hansen"). Recently, 2020 participant Joriah Kwamé received the 2020 Cole Porter Award from ASCAP, and 2010 participant Benjamin Scheuer received the 2021 Kleban Prize in Musical Theatre.
The 2021 Songwriters Project participants, ranging in age from 20 to 30, are Arie Abija (Richmond, Va.); Charlotte Morris (Nashville, Tenn.); é boylan (New York, N.Y.); Enid Mollel (Arusha, Tanzania); J. Quinton Johnson (Athens, Texas); Jasmine Forsberg (New York, N.Y.); Jordan Reynolds (Los Angeles); Nakeem (Reynolds, Ga.); Michael Shofi (Jersey City, N.J.); Sofie Zamchick (New York, N.Y.); and songwriting duos Barrett Riggins (Brooklyn, N.Y.) and Graham Techler (Brooklyn, N.Y.); Jude Obermüller (Brighton, England) and David Gomez (Lenexa, Kansas); and Noah Sunday-Lefkowitz (Glendale, Calif.) and Emma Lockwood (Orlando, Fla.).
"We had an unprecedented number of applications from all over the world this year and with the advances in accessibility to home studio recording, applicants’ demos have become stronger and stronger" said Jonathan Brielle, executive vice president of JMF. "We are so pleased that it has given us a particularly great group of diverse writers and can't wait to hear their new songs after working with our master teachers!"
The 16 emerging songwriters will spend the week with Tony and Grammy Award-nominated master teachers. The program is offered free-of-charge to selected songwriters through the generosity of the Johnny Mercer Foundation.
The Time Traveller's Wife Musical To Premiere On West End
A new West End Musical based on Audrey Niffenegger's acclaimed first novel "The Time Traveler's Wife" (to be called "The Time Traveller's Wife" in deference to UK spelling), will premiere in London in late 2021 or early 2022.
The music and lyrics will be penned by Joss Stone and Dave Stewart with additional lyrics by Kait Kerrigan.The production is to be directed by Bill Buckhurst for InTneatre Productions.
The novel was originally published in 2003 and tells of a man, who due to a genetic disorder, finds himself time travelling without warning. His wife, an artist, thus has to cope with his frequent disappearances and sometimes dangerous adventures.
BMI Celebrates Its 2021 Latin Award Winners
BMI (Broadcast Music, Inc.)has announced its 28th Annual BMI Latin Awards, recognizing the top songwriters and publishers of the previous year's most-performed Spanish-language songs in the United States. Top winners, including Contemporary Latin Songwriter of the Year, Regional Mexican Songwriter of the Year, Contemporary Latin Song of the Year, Regional Mexican Song of the Year and Publisher of the Year, were announced across BMI's digital and social channels to celebrate their outstanding achievements.
"It's an honor to pay tribute to BMI's exceptional family of music creators for writing and producing some of the most successful songs in Latin music," said Jesus Gonzalez, BMI's newly appointed Vice President, Creative, Latin. "From Contemporary Latin to Regional Mexican, these remarkable visionaries are shaping the sound of today's Latin music and inspiring the music makers of tomorrow. Today, we applaud our winners and thank them for sharing their musical gifts, which have kept us dancing and touched our hearts during these unprecedented times."
For the second time, Latin GRAMMY award-winning hitmaker Ozuna was named Contemporary Latin Songwriter of the Year for penning eight of BMI's most-performed songs. From his reggaeton duet "Yo x Ti, Tu x Mi" with Rosalía, that made its onstage debut at the 2019 MTV VMA's, to the infectious tracks "Otro Trago" (Remix) and "China," which both landed at No. 1 on Billboard's Hot Latin Songs chart, Ozuna continues to dominate the airwaves. "Adicto," a collaboration with Tainy and Anuel AA, earned the prolific songwriter his 21st top-ten single on the Hot Latin Songs chart, according to Billboard. Other top-performing singles by Ozuna include "Baila Baila Baila" and "Baila Baila Baila" (Remix), "Te Robaré" and "Te Soñé de Nuevo," bringing his tally to an impressive 23 BMI Awards, including Contemporary Latin Songwriter of the Year in 2018 and Contemporary Latin Song of the Year of 2019 for co-writing the smash, "Taki Taki."
Contemporary Latin Song of the Year was awarded to the global smash hit "Callaíta" by Tainy, Víctor Cabrera "Tunes," Felix Ortiz "Zion" and Francisco Saldaña "Luny." Decorated producer and songwriter Tainy sampled the classic 2005 hit, "Alócate," by reggaeton pioneers Zion, Luny and Tunes, and added his fresh spin to the rhythmic track performed by Bad Bunny. "Callaíta" won Urban/Trap Song of the Year at the 2020 Premio Lo Nuestro Awards and topped Billboard's Hot Latin Songs and Latin Rhythm Airplay charts. The summer anthem spent most of the season on the Billboard Hot 100, has over 760 million streams on Spotify and exceeded 660 million views on YouTube
The coveted title of Regional Mexican Songwriter of the Year went to Horacio Palencia, who previously received this accolade in 2016 and 2017 as well as Latin Songwriter of the Year in 2015, 2014, 2012 and 2010. He wrote seven of the genre's most-performed songs in BMI's repertoire, including "El Amor de Mi Vida," "Escondidos," "Esta Va Por Ti," "Estas Ganas de Tomar," "Mi Meta Contigo" "Mía Desde Siempre," and "Amor A Primera Vista" which peaked at No.2 on Billboard's Regional Mexican Airplay chart and has surpassed over 400 million views on YouTube. With 42 BMI Latin Awards in his collection of honors, the esteemed songwriter continues to be an influential force and prominent figure within the genre and beyond. Regional Mexican Song of the Year was awarded to Edgar Barrera and José Esparza, for the critically acclaimed track "De Los Besos Que Te Di," which was nominated for Best Regional Song at the 2019 Latin GRAMMYs. This marks the second year in a row that Barrera has received this accolade, and this is the first BMI Latin Award for Esparza.
Universal Music Publishing Group was named Publisher of the Year for representing 20 of BMI's most-performed Latin songs of 2020 with "11PM," "Con Altura," "Mi Meta Contigo," "QUE PRETENDES," "Que Calor," and "Sin Memoria," among those honored from their esteemed catalog.
BMI also commemorated the songwriters and publishers of the 50 most-performed Latin songs of the previous year with an astounding 35 first-time BMI Latin Award honorees. Some of the new inductees include the genre-bending sensation Rosalía, chart-topping Colombian songstress Karol G, Panamanian singer Sech, Regional Mexican artist Ernesto Tapia and pop singer-songwriter Belinda Peregrín, to name a few. Additional honorees include acclaimed artists J Balvin, who picked up seven awards this year, bringing his total up to 21 BMI Latin Awards, and Anuel AA and Gaby Music each added six awards to their collection of accolades bumping their total to 10 and 21 BMI Latin Awards, respectively.
BMI Celebrates The 2021 Pop Awards
BMI (Broadcast Music, Inc.) has celebrated the 69th Annual BMI Pop Awards, recognising the songwriters, publishers and administrators of the previous year's most-performed pop songs in the United States across radio and digital streaming platforms. All winners were announced in a special online celebration and on BMI's social channels, including the recipients of Song of the Year, Songwriter of the Year and Publisher of the Year.
Fans can view the complete list of winners, listen to their music, and watch exclusive content including first-hand accounts of the songwriting process behind some of the award-winning songs by visiting
Maren Morris, Laura Veltz, Halsey and Sony Music Publishing Receive Top Honors
"It is an honor and a privilege to represent some of the best pop music creators in the world," said Barbara Cane, Vice President, Worldwide Creative. "Their songs are groundbreaking, dynamic and inspiring, and we celebrate their dedication to craft, discipline and success. Music is today's greatest communicator uniting us, uplifting us, and shaping our most intimate and defining memories. Today as always, BMI applauds the creativity and artistry of these remarkable songwriters."
Song of the Year was awarded to "The Bones," co-written by BMI songwriters Laura Veltz and Maren Morris, who also performed the genre-crossing sensation. A metaphor for the importance of a strong foundation in a relationship, the chart-topping single appeared on her sophomore album, Girl, and steadily climbed to the number 12 spot on Billboard's Hot 100. The melody could be heard on pop, country and alternative radio, fueling its massive success and becoming the biggest hit of Morris' career to-date. In 2020, the song received a GRAMMY nomination, Morris' twelfth and Veltz's second, for Best Country Song and won both Single of the Year and Song of the Year at the Country Music Association Awards. This is the first BMI Pop Award for the pair, who already have a combined total of 14 BMI Country Awards between them.
International popstar Halsey was named Songwriter of the Year for having written four of the previous year's most performed songs including "Nightmare," "Graveyard," "Be Kind," and "You Should Be Sad." The two-time GRAMMY nominated singer/songwriter released the declarative and empowering single, "Nightmare," in the leadup to her third LP, Manic. Released in January 2020, the album debuted at number two on the Billboard 200 with two of the record's lead singles, the haunting fan-favorite "Graveyard" and the biting country-tinged breakup anthem "You Should Be Sad," landing on the Billboard Hot 100. Later that year she dropped the EDM-inspired "Be Kind," a collaboration with fellow BMI songwriter and hitmaker, Marshmello, and the fourth single from the Manic expanded edition. With this award, Halsey earns her tenth BMI Pop Award after receiving accolades for Song of The Year at the 2020 BMI Pop Awards.
As Publisher of the Year, Sony Music Publishing received the distinction for the ninth time having represented 24 of the top 50 award-winning BMI Pop songs including "3 Nights," "Boyfriend," "My Oh My," "Roses," and "The Man.".B2
BMI also honored the songwriters, publishers and administrators of the 50 most-performed pop songs of the previous year. This year's class of recipients included a record 59 first-time Pop award winners such as BENEE, Edgar Barrera, Doja Cat, Trevor Daniel, Metro Boomin, Noah Cyrus, Roddy Ricch, SAINt JHN, JP Saxe and more. Well-known hits like "10,000 Hours" co-written by Jessie Jo Dillon and Shay Mooney, "Bang!" written and performed by AJR, Dua Lipa's infectious dance anthem "Don't Start Now" co-written by Caroline Ailin and Ian Kirkpatrick, and Taylor Swift's "Lover" were also among the songs being recognized.
Sky Arts Unveils New Programmes Dedicated To The UK Music Scene
As we wait with bated breath for music venues, concert halls, clubs and arenas to reopen after over a year of closures, Sky Arts is today announcing a raft of brand new music programmes which will bring musicians from Soul II Soul to Slipknot straight to your living room.
Two brand new original commissions for music-lovers include:
The Live Revival
A new three-part series bringing together world class acts and breakthrough artists to shine a light on those hard-hit small music venues around the UK which are the beating heart of our music scene. Join musicians including Paul Weller, The Fratellis, James and The Charlatans as they revisit the regional venues they gigged in at the start of their careers to give exclusive one-off performances in a bid to spotlight the much-loved pubs and clubs which are increasingly under threat.
Noel Gallagher – Out of the Now
The legendary songwriter presents an up-close performance of music and storytelling from London’s Duke of York’s Theatre. Powered by his full formidable band, Noel will perform ten tracks spanning his career in Noel Gallagher’s High Flying Birds and Oasis, and walk us through some of the significant moments in his own life and career which continue to define British pop culture.
Phil Edgar Jones, Director, Sky Arts and Entertainment, commented:
“I don’t know what I’d have done without my favourite music to get me through lockdown and, while we are still missing the joys of live performance, Sky Arts is here with the next best thing – whether that’s digging into the archives for Guy Garvey: From the Vaults or the Best of Download for committed rockers, or if you’d prefer Handel’s La Resurrezionne conducted by Henry Bicket with The English Concert or Noel Gallagher telling his story in words and song in Noel Gallagher: Out of the Now or violin virtuoso Janine Jenson Falling for Stradivari – we’ve got something to suit every taste."
“We also wanted to turn our attention to the plight of the small music venue; the places all the great bands or solo artists started out and learned their craft. And we’ve been overwhelmed by the response from some of the greats of British music who have gone back to the places they began to pay homage with incredible performances that shine a light on these important places.”
Further new music programmes set to feature on Sky Arts in the coming months include:
Song for Nature
A specially curated concert for the London Climate Change Festival airing this evening for Earth Day featuring appearances from Rob Brydon, Janie Dee, David Suchet and Brian May.
Returning for a new series with an in-depth look at some of the greatest albums ever made, kicking off with The Who’s legendary concept album, The Who Sell Out, followed by Soul II Soul’s triple platinum Club Classics Vol 1.
Handel’s La Resurrezione
A new production of Handel’s rarely performed sacred oratorio starring the English Concert conducted by Harry Bicket.
Matt Deighton: Overshadowed
Airing during Mental Health Awareness Week, the respected front man of acid jazz band, Mother Earth, guides us through his life, music and the challenges of mental health and musicianship.
Chrissie Hynde Sings Bob Dylan
A brand new feature documentary following the prolific founder of The Pretenders as she spends 15 weeks in lockdown working on 10 timeless new covers of Bob Dylan. The film will air on his 80th birthday.
Guy Garvey: From the Vaults
The Elbow frontman returns to lift the lid on decades of TV gold, including era-defining musical performances and interviews which haven’t been seen for years.
Best of Download Festival
Celebrating the best moments of the head-banging rock festival between 2011 and 2019, featuring Iron Maiden, Slipknot, Def Leppard and Halestorm.
Falling for Stradivari
Follow virtuosic violinist Janine Jensen as she finds and plays some of the most sought-after violins in the world, all of them steeped in musical history.
Darbar Indian Music Festival
Explore the ways in which Indian music can aid mindfulness, meditation and support mental health with a selection of Ragas which define Indian classical music.
Record Distributions To Songwriters And Composers In 2020
PRS for Music, the organisation that represents the rights of over 155,000 songwriters, composers and music publishers, distributed a record £699.4m to its members in 2020, a year-on-year increase of 2% (£13.4m).
In a year that saw devastating impacts across most parts of the music industry, music creators relied on royalties more than ever for financial support. Through bolstering data processing to pay out royalties as quickly as possible and setting strong operational foundations in 2019, PRS for Music was able to react quickly and robustly when Covid-19 struck in late March 2020, helping to achieve this record result in distributions to its members. The society also reduced its net costs excluding charitable donations and subsidies by £12.1m, or 13.8%.
While distributions in 2020 were positive overall, many of the royalties paid out last year were collected before the first lockdown, meaning that the sharp decline in income will be felt by music creators through 2021 and beyond, with distributions expected to fall by at least 10%.
Overall, revenues collected from music being played in the UK and worldwide shrank by 19.7% (£159.9m) compared to 2019 to £650.5m, eradicating years of record growth.
Revenue generated from live performances of music represented the greatest percentage decline in 2020, falling by 79.1% (£42.7m) from £54m in 2019, to just £11.3m in 2020.
The majority of live music events were either cancelled or postponed due to Covid-19 restrictions, including hundreds of high-profile festivals such as Glastonbury and arena tours from the likes of Harry Styles and Stormzy, as well as thousands of gigs at independent venues across the UK and grassroot events featuring predominantly emerging talent. Of the £11.3m collected, most related to live music events staged towards the end of 2019 and in the first quarter of 2020, including concerts from The 1975, Stereophonics, Mabel and Madonna’s UK tour, where PRS members’ repertoire featured prominently.
‘Public performance’ revenue overall, which, as well as live music events, includes music used in business premises, shops, cinemas, pubs, clubs, hotels and restaurants, saw a significant 61.2% (£136m) downturn in revenue collected year-on-year, to £86.2m in 2020, again due to business closure.
This downturn is due to PRS for Music’s policy to only charge businesses for when they have been open and able to play music. ‘Payment holidays’ and pauses on invoicing for those impacted by enforced closures provided much needed relief to customers, particularly small businesses.
While most public performance sectors were adversely impacted, revenues from hospitality and nightlife industries were amongst the worst affected. Negative impact on revenue collected from retail was slightly eased by essential elements of the sector permitted to remain open by the government, such as supermarkets. Additionally, a rise in demand for online shopping and click-and-collect services, in turn led to increased demand for warehouse and storage facilities, many of which play music for employees.
International royalty income continues to be the largest revenue stream for PRS for Music members, underlining the enduring popularity of British music globally, but still saw a 10.7% (£29.7m) decline compared to 2019 on a constant currency basis. A total of £248.6m was collected through reciprocal agreements with societies around the world. One factor in this decline in international revenue, was the closure of the tourism industry; for example, with cruise ships not operating last year, royalty collections in this market reduced by 75%, from £7.2m to £1.8m in 2020.
With the exception of commercial radio, overall revenue from UK broadcasters remained relatively stable over the 12-month period, seeing a 2.6% decline from £130.8m in 2019 to £127.4m in 2020. A reduction in commercial radio advertising meant radio royalties fell by 9.2% (£4.6m) year-on-year to £45.2m, only partially offset by a small increase (1.5%) in income from TV, which totalled £82.2m.
Revenue generated from music played online was the only area to see growth in 2020, rising to £188.3m, a 5.1% (£9.1m) uplift compared to 2019. As well as increased revenues collected, distributions from online also saw the biggest uplift at 63.2% versus 2019.
Within online, revenue generated from music used across TV and film on-demand platforms like Netflix and Amazon Prime, saw the most notable uplift at 29.4% year-on-year. This was primarily due to a rise in subscriptions and film rentals taking place during national lockdowns.
Music played on streaming platforms like Spotify also contributed to the rise in overall online revenue. PRS for Music members featured on many of the most streamed hits of the year including Don’t Start Now by Dua Lipa and Head & Heart by Joel Corry ft. MNEK; two of the highest performing songs in the official UK charts last year.
Last year’s increase in online income contributed to the exponential growth in this market in recent years, having grown by 344%, from 2015 (£42.4m) to (£188.3m) in 2020. As the online market continues to evolve and new platforms emerge, so too do opportunities for music creators to have their music played. In 2020, PRS for Music licensed over 30 new online platforms including TikTok, a service with over 800 million active users, and Triller, with royalties expected to start flowing through to music creators for the first-time next year. A sharp rise in the popularity of livestreamed concerts and growth in online gaming platforms, will also create new revenue streams in 2021.
This online growth is also reflected in the rapid increase and vast volumes of data processed by PRS for Music, both in-house and through its joint venture partners, with 22.4 trillion ‘performances’ of music processed in 2020. This figure includes music broadcast on TV and radio, played in business premises and played live around the globe, but is predominantly due to the increase in music being played online, and represents a 796% increase in music processed by the society since 2015.
The healthy increase in online royalties’ income and distributions, will not offset the loss of income for many music creators. For example, distributions to members from ‘public performance’ fell by 35.1% or £50.4m in 2020.
Research from charity Help Musicians found that 9 out of 10 people who work in the music industry are in crisis, facing mental wellbeing challenges amidst concerns around their future livelihoods. To support members, PRS for Music, in collaboration with its charity partners PRS Members’ Fund and PRS Foundation, launched the PRS Emergency Relief Fund, and has since paid out over £2.2m across 5,500 grants to songwriters and composers facing severe financial hardship because of the coronavirus pandemic.
According to Andrea Czapary Martin, CEO, PRS for Music - "Composers and songwriters have relied more than ever on their PRS royalties in 2020. The increased distributions announced today, set against the most challenging of years, represents a significant achievement for PRS for Music.
The increase, driven by growth in online revenues, cannot alone negate the immense loss of income and harm on the whole music industry, and the livelihoods of those within it, in 2020. This year will be similarly challenging, as the dramatic fall in revenues during the last year will be reflected in declining distributions throughout 2021.
As we look forward, reopening of the live sector must be a priority, while the repercussions of Brexit will become clearer through new limitations on touring outside of the UK.
Music has played an invaluable role for many of us throughout periods of isolation, providing entertainment, escapism, and connection. We must not overlook the talented writers and composers behind the music we turn to. I am immensely proud of the PRS Emergency Relief Fund, paying out £2.2m in grants to members experiencing severe financial hardship because of the pandemic, and we will continue to do as much as we possibly can to support them".
NB: Total revenue figure, overall international revenue and overall online revenue presented on a constant currency basis.
Orange Amps Launches Online Vocal Performance Exams
Orange Learn, the educational arm of Orange Amplification, is excited to announce the expansion of its qualifications with the launch of Vocal Performance Graded Exams. Orange Amps has spent more than fifty years encouraging people to enjoy and participate in making music. Now, this includes vocalists.
The Orange Learn Vocal Performance syllabus and graded exams, developed in partnership with Online Music Exams, focuses entirely on the performance of songs, offering an additional progression route to traditional practical music exams with a carefully curated, contemporary list of suggested songs. Plus, it is more affordable in comparison to many of its competitors and its flexibility allows exams to be taken anywhere, at any time, and as many times as needed.
Popular songs featured in the modern syllabus include Olivio Rodrigo's Drivers License, Andy Grammer's Don't Give Up On Me, Billie Eilish's Bad Guy. Also featured are Shape Of You by Ed Sheeran, Cuz I Love You by Lizzo and Own it by Stormzy. However, students can choose their own songs providing they fit the parameter guidelines found in the syllabus.
There are nine graded exams in total, debut through to Grade 8. Grades 1 to 8 are regulated qualifications and recognised by the RQF* and EQF* via the awarding body, The Learning Machine. Each exam requires a student to introduce and perform a selection of songs. Students receive feedback from a professional singer and a vocal examiner, as well as a certificate of qualification on passing.
‘Music education has always been close to my heart,’ said Cliff Cooper, Orange Amps CEO, ‘Orange Learn’s Vocal Performance syllabus and exams is about encouraging the uniqueness of each individual to shine, allowing a space for them to develop performance and communication skills and gain a qualification.’
Students already learning to sing and looking for a vocal exam that is more cost effective and can be taken online, anytime or anywhere, can find out more at orangeamps.com/learn-vocal/
ASCAP Surmounts Pandemic To Collect $1.327 Billion In 2020
ASCAP, the American Society of Composers, Authors and Publishers, overcame the unprecedented headwinds of 2020 to continue its record-breaking revenue streak, collecting more than $1.327 billion in revenues, a $53 million increase over 2019.
ISA • International Songwriters Association (1967) Ltd
2020 marked the sixth year of ASCAP’s strategic plan to transform its business and grow revenues. During the execution of the strategic plan from 2015 through 2020, ASCAP exceeded performance goals and drove ASCAP revenues to a 6% compound annual growth rate and ASCAP distributions to a 7% compound annual growth rate.
2020 domestic and foreign revenues both saw significant increases. As compared to 2019, foreign revenue rose by 9% to $358 million. Domestic revenue for 2020 was up by 2.5% at $969 million, an increase of $24 million from 2019. The growth of domestic revenue was driven in part by gains of 28% in audio streaming revenue and 8% in audio/visual, matching shifting music consumption trends during the pandemic. ASCAP’s strategy to mitigate the impact of COVID-19 helped to offset uncontrollable declines in other sectors, including a 30% decline in revenues from businesses that were shut down or at reduced capacity during the last three quarters of 2020, such as live concerts and events, music venues, bars, clubs, restaurants, retail stores, hotels and more.
During a time period in which the global pandemic directly affected revenues for many companies that license music, ASCAP grew royalties for its songwriter, composer and publisher members by $29 million, or 2.5%, for a total of $1.213 billion available for distributions. Domestic distributions from ASCAP-licensed and administered performances hit $891 million, an increase of $22 million, and foreign distributions totaled $322 million.
ASCAP operates on a not-for-profit basis and distributes all revenues collected, less operating expenses.
"2020 challenged all of us unlike any other year in modern history. It also defined ASCAP’s dedication to our members,” said ASCAP Chief Executive Officer Elizabeth Matthews. “That meant strengthening our commitment to our mission to serve our songwriters, composers and music publishers by taking every step necessary to secure their livelihoods and careers. Inspired by our members each and every day, the ASCAP team proved that innovation, efficiency and progress really can be escalated in a crisis."
“I am so impressed by ASCAP and its extraordinary efforts in 2020,” said ASCAP Chairman of the Board and President Paul Williams. “The team worked extremely hard and under incredibly difficult circumstances to make up for revenues lost due to the pandemic and to deliver the financial security and support that music creators need to survive the crisis of our lifetime. Their work will have an impact for years to come and as an ASCAP member, I am deeply grateful. Together, we have met the demands of this challenging time period and we look to 2021 with greater hope and strength as a community.”
The ASCAP team met and transcended the demands of 2020, shining a brighter spotlight on its members and providing them with more resources to help weather the challenges of the time:
· ASCAP mobilized to deliver COVID relief through a major donation to MusiCares earmarked for its songwriters in need; fought for governmental COVID relief for music creators on the federal and state level; and launched Music Unites Us, a website to provide information on COVID resources for music creators.
· ASCAP rallied for racial and social justice through its Fight for Change resources page, by raising money for Color of Change and the NAACP Legal Defense Fund, by establishing an annual internship program for HBCU students, by advocating for federal and state police reform bills, and through its ASCAP Citizen “GET OUT THE VOTE” campaign.
· ASCAP innovated toward greater transparency with the launch of SONGVIEW, a comprehensive data platform developed in partnership with BMI, which for the first time, enables ASCAP and BMI to display more detailed, authoritative and consistent copyright ownership data for performing rights for more than 20 million songs in their combined repertories.
· ASCAP adapted all of its major award shows, events and educational programs to virtual platforms, with participation from some of the world’s biggest music creators such as Billie Eilish, Cardi B, Diplo, DaBaby, Justin Bieber and Ariana Grande. The ASCAP Experience: Home Edition (formerly the ASCAP Expo) drew more than 10,000 registrants from 120 countries and featured conversations with award-winning music creators such as FINNEAS, Brothers Osborne, Brandy Clark, Shaggy, Michael R. Jackson, Benj Pasek and Justin Paul, Hans Zimmer and more.
· ASCAP elected over 58,000 new members in 2020 and is now home to over 800,000 songwriters, composers and music publishers, from the most successful names in music to those at the early stages of their careers.
The ASCAP 2020 Annual Report can be viewed at www.ascap.com/annualreport.
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International Songwriters Association Limited
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