SFX Bankruptcy Court Allocates $15 Million In Payments To Artists

Sfx redThe judge overseeing the SFX bankruptcy gave top tier EDM artists and their agents reason to celebrate this week with the allocation of $15 million to be paid to artists performing at the beleaguered promoter’s festivals this summer.

By Dave Brooks of touring industry trade Amplify

The judge overseeing the SFX bankruptcy case has agreed to allocate as much as $15 million to a number of top-tier talent agencies to ensure DJs and EDM artists are paid for performing at SFX festivals this summer. The deal is a lifeline for the beleaguered company – confidence in SFX had gotten so bad that some artists and their agents were requiring 100-percent payment before their names were even announced on the lineup.

On Monday, U.S. Bankruptcy judge Mary Walrath approved Artist Carveout Agreements between SFX and WME, AM Only, Windish and Paradigm Talent Agency. The agreement sets aside a pool of money so that SFX can pay the artists it has booked for its festivals and continue to operate while in bankruptcy.

Cash“The value of the debtors’ estates and their ongoing business depends on their continued successful festivals, events and club shows,” the motion from SFX attorney Dennis Meloro reads. “The profitability of these shows hinges, in significant part, on the artists performing and their ability to attract large numbers of fans. The pool of artists that can reliably attract large numbers of fans to the shows is extremely limited and the vast majority of them are represented by the agents. Thus, the debtors relationship with the agents and their represented artists are vital to a successful reorganization.”

The deal allows for headliners performing at festivals of 10,000 or more people to be paid 25% before announcement of the lineup, 50% 30 days before the festival and 25% not less than five business days prior to the event. If the event gets cancelled, SFX owes the artist 100-percent payment.

Non-headliners will be paid 15% before announcement of the lineup; 40% thirty days before the event, and 45% not less than five business days prior. Smaller shows and nightclub concert talent will be paid 20% before announcement of the lineup, 40% thirty days before the event and 40% not less than five business days prior to the event.

The artist carve came after a month of negotiations with the major agencies and SFX’s bankruptcy financier DIP Lenders. According to the document “[a]gents have agreed to reasonable Payment Terms for Artist Agreements during the Chapter 11” and agents have agreed that the booking contracts will stay intact if any of the participating festivals are sold off.

After the bankruptcy was announced earlier this year, a number of artists and agents stated they will refuse to perform at upcoming SFX festivals unless they were given “100% payment cash in advance” according to the filing, and in some case “100% payment prior to permitting (SFX’s) announcement of a particular Artist as part of the line up for a Show.”

The news comes after a round of layoffs were announced at the company. After filing Chapter 11 bankruptcy, SFX has announced plans to cut 50 employees from its New York headquarters. Last week, CEO Robert Sillerman announced he was stepping down from his post atop the company he helped create. FTI Consulting has taken leadership over SFX in hopes of restructuring the company’s $490 million debt. Meanwhile, SFX is moving forward with the sale of Beatport, Famehouse and Flavorus.

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46% of Americans ‘Not That Into Streaming,’ Study Finds

Agree/Disagree: “I’m More Likely to Download Content Than to Stream Content.”

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Source: Limelight Networks survey of 1,136 American consumers, February, 2016.

Music downloads on platforms like iTunes and Amazon are plunging, but overall, downloads remain a preferred format for a substantial number of Americans.  And according to a study released this week by Limelight Networks, a large percentage of those people refuse to pay for it.

The report adds to the seemingly-contradictory pile of data emerging around music and media consumption, especially as it relates to the transition to streaming.  On one hand, streaming levels and paying streaming subscribers are absolutely surging, with companies like SoundCloud pointing to a resulting eradication in piracy.  Spotify, a company that also points to decreases in piracy alongside streaming gains, just announced its 30 millionth paying subscriber.  Conversely, song downloads on iTunes and Amazon are sliding precipitously, with the RIAA reporting a 14.9 percent decline last year.

Sounds like a simple transition, but numerous research reports continue to point to deeply-entrenched download and piracy levels, even increasing levels.  Limelight, whose study is focused on downloading overall, found that music remains incredibly popular on piracy channels.

Depending on how you look at the data, this is a greater problem for Hollywood and the television industry, with the most active media consumers more likely to be pulling movies and shows than songs.  According to Limelight, 16.88 percent of Americans are downloading video content on a daily basis, with 14.46% reporting the same on music.

That sharply contrasts with dropping iTunes song download stats, except for this: according to the Limelight study, 48.9 percent of survey participants admitted that they’ll “only download music if it is free,” with an addition 6.89 percent expressing “no problem downloading pirated content.”

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Those figures ramp up dramatically among millennials, leading Limelight to peg music as the most-pirated content type.  “It’s interesting to note that music is still the digital content with the highest propensity for theftwhat was true in 2000 seems to still be true today,” the study wrote.

But this is a story that goes far beyond simple downloading.  According to a recently-released report from MusicWatch, 57 million Americans are actively pirating content across a number of methods, including a surge in YouTube ‘stream-ripping’.  Converting streams into downloads is nothing new, though a multiplicative jump in streaming is causing it to increase.

Other studies, including a bandwidth-focused report by Cisco Networks, show an all-out and continued increase in content piracy, across all media types.

The post 46% of Americans ‘Not That Into Streaming,’ Study Finds appeared first on Digital Music News.

The Beatles Rock Their First 100 Days On Spotfy

BeatlesFans waited a long time for The Beatles to arrive on streaming.  Now, 100 days after their addition to Spotify, 6.5 million monthly listeners have streamed 2,793 years’ worth globally. 

The Beatles by the numbers:

  • 6.5m monthly listeners worldwide
  • 67% of listeners globally are under the age of 35
  • The Beatles’ listeners are 65% male, 35% female
  • The Beatles have been added to more than 4.2 million playlists
  • There have been 2,793 years’ worth of listening in the first 100 days
  • The Beatles are listened to most on a Thursday
  • The most popular time of day to listen is 5pm

Spotify Beatles Global

 Top 4 most listened-to tracks globally:

  • Here Comes The Sun
  • Come Together
  • Let It Be
  • Yesterday

Top 4 most listened-to albums globally:

  • 1
  • Abbey Road
  • The Beatles
  • Let It Be

Top 4 countries listening to The Beatles:

  • USA
  • UK
  • Mexico
  • Sweden

Top 4 cities streaming The Beatles globally:

  • Mexico City, Mexico
  • London, England
  • Santiago, Chile
  • Los Angeles, United States of America

Top 4 U.S. cities streaming The Beatles:

  • Los Angeles
  • New York
  • Chicago
  • Houston

Beatles streaming

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