MusicFreaks

Tag: Music industry

  • TIDAL will not pay royalties to AI-generated songs as they share new policy

    The music industry is currently navigating a fascinating, yet fraught, new frontier: the rise of artificial intelligence in composition. What started as a technological advancement has rapidly morphed into an economic and ethical crisis, prompting major streaming platforms to draw a hard line against entirely AI-generated music.

    One of the most prominent moves comes from TIDAL, which has introduced a sweeping new policy aimed at ensuring fairness for human artists. The platform has confirmed it will no longer pay royalties to any music created entirely by artificial intelligence, signaling a serious shift in how digital compensation is handled.

    The impetus behind this change stems from growing concerns about the authenticity of the content. A recent study revealed that a staggering 97 per cent of people cannot reliably tell the difference between genuine human-made music and music generated by AI.

    This uncertainty isn’t just academic; it has immediate economic consequences. Previous revelations, such as Deezer‘s finding that 28 per cent of uploaded music was fully AI-generated, fed into a broader fear: that workers in the music sector could lose nearly a quarter of their income to Artificial Intelligence over the next four years.

    In response to this escalating situation, TIDAL is taking concrete action. Effective July 15th, they will implement measures to police the platform:

    • 100% AI-generated tracks will be clearly labeled and will not earn royalties.
    • Any content designed to impersonate existing artists will be removed.
    • Users will have the option to filter out all 100 per cent of AI-generated content from their streams.

    TIDAL’s policy is formally outlined in a new framework titled “Promoting Fairness and Economic Empowerment in the Era of AI-Generated Music.” While the platform acknowledges that artists should have the freedom to utilize AI tools for creation, they prioritize ensuring that royalties flow directly to original works produced by people.

    The goal is clear: protecting the economic foundation of music creation. This stance reflects a wider industry movement where various bodies and artists are demanding consent before engaging in any AI deals, pushing back against plans that allow AI firms to exploit copyrighted material without compensation.

    The response from established players mirrors this trend. Spotify has also stepped up its efforts, removing millions of “spammy tracks” and targeting impersonators. Furthermore, platforms like Deezer have deployed tools designed to detect AI-generated music across multiple playlists, demonstrating a collective effort to manage the chaotic landscape of algorithmic creation.

    The debate over AI in art is increasingly moving from a niche technological discussion to a fundamental question about ownership, value, and fairness. As society grapples with these complex issues, the future of music will depend on finding a sustainable balance between creative freedom and economic accountability.

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    Credit: NME

  • Yung Miami Asks Drake to Get on ‘Spend Dat’ Remix: ‘I Want the Iceman’

    The dance floor of pop culture often buzzes with high-stakes interactions, and lately, Miami rapper Yung Miami has been masterfully navigating the complex waters between music stardom and celebrity engagement.

    This latest chapter in her journey involves a playful exchange with Toronto superstar Drake, highlighting the dynamic tension that often accompanies massive fame. Earlier this month, Miami sparked some digital amusement by joking about being left on read after asking Drake to feature on her track, “Take Me to Chanel.”

    While the interaction might seem lighthearted, it underscores the constant negotiation between artists and icons. Yung Miami shared that while she sent the request, Drake’s response felt like a classic celebrity avoidance maneuver. She recounted the playful struggle of asking him to join her song, emphasizing the unique connection, even amidst the typical celebrity whirlwind.

    However, this period of playful banter is just one facet of Yung Miami‘s burgeoning momentum. Her music is currently hitting some serious mainstream milestones, proving that her artistic vision resonates far beyond fleeting social media moments.

    A prime example of this traction is her track “Spend Dat.” The song has found a massive platform, taking center stage during the New York Knicks championship parade. This moment was amplified when the team embraced the song so enthusiastically that it became part of the celebratory spectacle.

    The success of “Spend Dat” wasn’t just celebrated by the team; industry heavyweights joined in. The track received a spin from Fabolous, who added his own flavor to the remix, further cementing the song’s place in the popular consciousness.

    This successful rollout has translated into solid chart positions, with “Spend Dat” currently sitting at number 35 on the Billboard Hot 100 and number 7 on the Hot R&B/Hip-Hop Songs chart.

    As Yung Miami continues to build her empire, from playful celebrity interactions to impactful musical releases, it seems she is setting the stage for what could truly be considered the song of the summer.

    Credit: Billboard

  • Twista Pleads Guilty to $440K in Tax Evasion Charges & Faces Up to 5 Years in Prison

    Rapper Twista Pleads Guilty to Tax Evasion, Facing Prison Time

    The music world is currently catching up to a legal reality for rapper Twista, born Carl Mitchell, who has pleaded guilty to five counts of willfully failing to pay taxes over a five-year period spanning 2019 through 2023.

    This plea marks a significant moment for the 52-year-old Chicago native, as he faces substantial federal consequences. He is currently facing up to five years in prison, alongside potential fines and additional penalties related to his outstanding tax debts.

    The financial scope of the issue is staggering. The rapper owes the IRS over $440,000 in back taxes alone. A detailed breakdown shows liabilities across recent years, including $18,891.25 for 2019 and $71,703 for 2022.

    The investigation revealed a complex scheme involving payments received through a third-party company, with allegations that Twista knowingly failed to report or pay taxes on these funds. Federal prosecutors claimed the rapper received payments totaling $578,322 while simultaneously acquiring luxury vehicles instead of settling his financial obligations.

    The purchased assets listed in court documents include high-end items such as a 2015 BMW I8, a 2016 Tesla Model X, a 2022 Chevrolet Corvette, and a 2025 Jeep Gladiator.

    The financial trail extends even further back, with the discovery of unpaid tax liabilities dating from 2011 through 2018, totaling tens of thousands of dollars in outstanding amounts and penalties.

    Twista rose to fame in the early 2000s, carving out a niche known for his speedy rapping and distinctive breath control. He achieved notable success with albums like Kamikaze in 2004, which topped the Billboard 200 chart, and several hits on the Billboard Hot 100.

    His career highlights include top-ten placements on the Hot 100 with tracks such as “Slow Jamz” featuring Ye and Jamie Foxx, “Overnight Celebrity,” and Trick Daddy’s “Let’s Go.”

    While the legal proceedings continue, Twista’s future depends on his sentencing scheduled for October 22nd. The case serves as a stark reminder of the complexities that can accompany a high-profile career and significant financial mismanagement.

    Credit: Billboard

  • Fuerza Regida’s JOP & Label Boss Jimmy Humilde Go Public With Legal Feud in Instagram Posts

    The world of music often deals in catchy melodies and massive hits, but sometimes the most explosive stories emerge not from the charts, but from the contract negotiations. Recently, the high-stakes legal battle between Mexican hitmakers Fuerza Regida and their record label Rancho Humilde has escalated far beyond the courtroom, spilling into the public spotlight via social media.

    Frontman Jesús Ortiz Paz (JOP) and CEO of Rancho Humilde, Jimmy Humilde, have used Instagram to launch fiery public debates over nearly a year-long dispute concerning contract terms, royalties, and alleged attempts to sabotage the group’s success. This standoff pits artistic freedom against institutional agreements, turning a private business negotiation into a highly visible public narrative.

    Fuerza Regida is currently seeking a judicial ruling to terminate their record deal with Rancho Humilde, arguing that the label has withheld rightful royalties and actively sought to undermine their career momentum. JOP’s public outcry focused on frustration over being blocked from major cultural moments, including performances at the FIFA World Cup and inclusion on the official soundtrack for the 2026 World Baseball Classic.

    “To everyone who supports Fuerza Regida: You deserve to hear our music,” JOP posted, emphasizing the feeling that their achievements were being ignored. He expressed disappointment, stating that instead of celebrating their journey, their music seemed to be vanishing, calling for justice to reveal the full story behind their success.

    The response from Rancho Humilde CEO Jimmy Humilde was equally assertive. He defended his position, arguing that he had provided immense support—including securing a deal worth over $50 million and providing extensive resources—to help Fuerza Regida achieve global stardom. Humilde countered the narrative of sabotage by suggesting that the focus should be on internal label management, implying that JOP had also mistreated bandmates and artists on his own label, Street Mob Records.

    Humilde appealed to JOP to honor their shared history, urging him to fulfill the record deal as agreed upon. He echoed JOP’s sentiment by invoking the Spanish idiom, “EL QUE NADA DEBE, NADA TEME,” or “he who has nothing to hide has nothing to fear.”

    The legal front remains focused on the core promise of exclusive agreements. Rancho Humilde’s attorney, Michael Trauben, emphasized that an exclusive deal fundamentally requires the artist to release music through the agreed distribution channels. Trauben stated that no artist, regardless of their success, can unilaterally decide to ignore this bargain and independently release recordings at will.

    Currently, the legal proceedings are in their early stages, with a judge weighing a motion to dismiss some of Fuerza Regida’s claims at the outset. If the court does not reach a settlement, the parties will move forward with the discovery phase before an eventual trial. The story of Fuerza Regida and Rancho Humilde remains a fascinating, high-stakes example of how artistic ambition, financial agreements, and public relations collide in the modern music industry.

    Credit: Billboard

  • 5 Insights From Berklee’s AI Music Summit (and the Student Protest Outside It)

    The air in Boston was buzzing with the energy of a typical sunny afternoon as music lovers converged on Fenway Park for the Orioles vs. Red Sox game. But just down the block from the baseball diamond, amidst the historic architecture of the Berklee College of Music’s Richard Ortner Studio Building, a far more dynamic and nerve-wracking conversation was unfolding: the future of music and artificial intelligence.

    From June 3 to 5, the Berklee Emerging Artistic Technology Lab (BEATL) hosted its inaugural AI Music Summit (AIMS). Hundreds of industry heavyweights—including engineers, educators, producers, lawyers, researchers, and musicians from across the nation and beyond—gathered to tackle the complex reality of artificial intelligence in the music world.

    It wasn’t just a lecture; it was a forum for debate. Experts demonstrated, discussed, and sometimes decried where AI currently sits in the creative landscape. The event highlighted that artificial intelligence is far more than just catchy songs produced by tools like Suno; it encompasses everything from assistive technologies to complex systems governing royalty calculations, remixing, and marketing.

    The conversation quickly pivoted from flashy generative tools to the fundamental questions of ownership and ethics. One major point raised was the distinction between simply creating music with AI and using AI to solve specific technical problems—like stem separation or effects processing. Panelists focused on ensuring that AI is used to enhance production rather than existing purely for its own sake.

    The generative revolution, while undeniably powerful, sparked a crucial reflection: Is this an evolution or a genuine rupture? Previous technological shifts, such as sampling and streaming, forced the industry into painful but necessary transformations. But experts noted that generative AI’s speed and scale are unprecedented. Nearly 75,000 fully AI-generated tracks are being uploaded daily to platforms like Deezer, even if they only account for a small fraction of total streams.

    This rapid technological pace has put legal and business infrastructure in catch-up. The need for clear rules on copyright, provenance, and attribution is paramount. Discussions surrounding AI rights management—including detection and ownership—showed that old legal frameworks are struggling to map onto these new digital realities, underscoring a pressing need for new solutions.

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    Credit: Hypebot

  • Blur drummer Dave Rowntree loses PRS court battle for £200million “black box” unpaid songwriter royalties

    The music industry is a labyrinth of royalties, licensing fees, and complex accounting, but when that system hits a legal roadblock, the stakes can feel astronomical. For Blur drummer Dave Rowntree, the fight over how performing rights are distributed turned into a landmark case, ultimately concluding with a setback for his claim against PRS For Music.

    Rowntree sought to challenge the methods by which Performing Right Society (PRS) distributes funds, arguing that crucial information was missing or inaccurate, leading to what industry insiders dismissively call “black box” royalties. This dispute centered on the core principle of fairness: ensuring songwriters and publishers are credited correctly for their earnings.

    The central claim argued that PRS’s system for distributing these unidentified royalties was fundamentally unfair. Rowntree asserted that due to missing or inaccurate data, songwriters could potentially be deprived of up to £200 million in collective earnings.

    However, the legal journey did not yield the result Rowntree hoped for. The Court of Appeal dismissed his challenge, upholding an earlier ruling from the Competition Appeal Tribunal that had determined the case lacked a “reasonable prospect of success.”

    In the new judgment, Lord Justice Miles delivered a clear verdict on the structural issue. He observed that the problem with Rowntree’s position stemmed from the fact that his side failed to present a realistic alternative for distributing the money. He noted that the “black box royalties problem arises precisely from the absence of accurate information,” concluding there was no plausible basis for suggesting a fairer distribution without verifiable data.

    PRS For Music responded by supporting the court’s decision, reinforcing their stance that the claim was flawed and misrepresented their policies. They welcomed the ruling, emphasizing their commitment to delivering value for members and protecting their rights wherever music is used.

    This outcome occurs amid wider industry scrutiny regarding transparency in the live music ecosystem. Earlier this year, groups like the Music Venue Trust launched campaigns calling for greater accuracy and fairness in how licensing fees are calculated for grassroots venues. Discrepancies in these fees—some estimates linked to PRS charges across the UK reaching over £666,000—highlighted a systemic need for better mechanisms.

    Calls for change have been echoed by bodies like the Council of Music Makers, which urged PRS to adopt new technology to overcome inefficiencies and ensure transparency. The underlying message remains consistent: institutions must strive for fairness, ensuring that money flows transparently from the stage to the creators who make the music possible.

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    Credit: NME

  • String of European music festivals and gigs left devastated by extreme weather: “The unthinkable has happened”

    Hundreds of thousands of music fans across Europe endured a brutal weekend of disruption and disappointment as extreme heatwaves and severe storms swept the continent. What was meant to be a celebration of music devolved into a stark demonstration of how quickly extreme weather is reshaping the landscape for live events.

    The challenge was immense, pitting massive outdoor gatherings against rapidly escalating climatic conditions. Across the continent-straddling heatdome, major festivals and outdoor gigs were forced to cancel sessions and evacuate audiences due to dangerous temperatures and severe storms.

    Friday saw major cancellations, including Defqon.1, a 50,000-capacity dance music event in the Netherlands’ Biddinghuizen, which was called off following a “code red warning” issued by Dutch authorities for extreme heat. Other spectacular events faced similar disruptions, with fans being evacuated from festivals such as Garorock in France, Paradise City in Belgium, and Scandal in the Netherlands.

    The reaction from organizers and attendees was one of shock and deep sadness. For Defqon.1, organizers expressed devastation, acknowledging that tens of thousands of dedicated Weekend Warriors had travelled great distances and prepared for the event, only to face an unthinkable reality. Ticket holders were confirmed to receive refunds, underlining the sense of loss felt by everyone involved—artists, crew, and fans alike.

    The disruption extended beyond massive festivals. Artists and bands also faced catastrophic setbacks. At one venue in France, The B-52s experienced a total disaster when their set was cancelled just minutes before a tornado struck the location. Band members reported that equipment, including keyboards, microphones, and sound gear, was destroyed while crew members sought shelter. Similarly, Katy Perry’s headline performance of 55,000 capacity was cancelled due to severe thunderstorms, leading her to express regret over being unable to be with fans.

    The scale of the heatwave also impacted live music in England and Wales, where temperatures soared. Record-breaking heat hit three consecutive days, with peak temperatures reaching 37.3°C in Suffolk on Friday. Even major events like Glastonbury faced immense pressure when considering the extreme heat that was already underway.

    This event serves as a sobering reminder of the accelerating impact of human-induced climate change. Scientists have concluded that sweltering overnight temperatures during this European heat event were approximately x100 more likely today than they were during the infamous 2003 heatwave, due to global warming. Europe, in particular, is heating up at more than twice the global average.

    For the music industry, the lesson is clear: preparation must evolve. Leaders like the Association of Independent Festivals (AIF) acknowledge that while festivals are often planned for extreme weather, current conditions push the boundaries of what can reasonably be anticipated or planned for. Organizers stress that success in the future depends on vastly improved operational planning, communication, and infrastructure resilience to face weather extremes that seem to be the new normal.

    Credit: NME

  • Your Morning Coffee Podcast: Vanity Metrics, Suno ‘Grants,’ Ticketing Models, More.

    The music industry is currently navigating a fascinating collision of old-school artistry and dazzling new technology. From artificial intelligence tools to complex financial models, artists are being asked to do more than ever, balancing creative vision with relentless business demands.

    This tension forms the core of today’s conversation in the world of music business. We dive into how emerging technologies like Suno are shaking up traditional structures by offering incubators and marketing support directly to indie talents. This shift raises a critical question: what is the role of the gatekeepers when creation itself is becoming democratized?

    But the revolution isn’t just in the tools; it’s also in the metrics. Artists often struggle with the relentless pressure to chase vanity metrics—numbers that look good on a dashboard but don’t reflect true creative success. Understanding the difference between surface-level popularity and genuine artistic impact is essential for long-term sustainability.

    Beyond the digital landscape, the mechanics of bringing music to life remain stubbornly analog, albeit increasingly scientific. We explore the fascinating intersection of psychology and finance to unpack the science behind ticketing: how artists and their teams calculate tour pricing and maximize revenue from live performances.

    Perhaps the most provocative idea discussed is a paradigm shift in industry structure itself. There is a growing theory suggesting that the modern approach, often branded as the “Label Model,” is inadvertently training artists not to need traditional record labels. This suggests a future where independent creators can bypass established hierarchies and forge their own paths with greater autonomy.

    These discussions underscore a key theme: while the methods of creation are evolving rapidly, the fundamental human drive for connection and quality remains the constant. The music industry is at an exciting crossroads, driven by innovation, data, and the persistent, powerful voice of the artist.

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    Credit: Hypebot

  • Lorde Celebrates One-Year ‘Virgin’ Anniversary With Mega-Drop of 49 Demos

    Lorde recently pulled back the curtain on the creation of her 2025 album Virgin with a massive one-year anniversary celebration. The event was more than just a retrospective; it included a deeply personal essay and the posting of 49 raw demos from the intensive album sessions, offering fans an unprecedented glimpse into the creative process.

    In her reflective note to her audience, Lorde shared her experience navigating the aftermath of such a monumental project. She admitted that she hadn’t known how to articulate the journey of Virgin since its release, finding herself slightly desensitized to the world of marketing and commodifying emotions at that point in her life. Sharing the album felt raw and exposing in a new way.

    The note delved into the psychological demands of the work, reflecting on the self-absorption required for such deep creative endeavors. She spoke candidly about the process being intensely challenging: Virgin required navigating discomfort and mundanity, having to “hack your way out” of difficult emotional terrain while building a personal sanctuary.

    Lorde detailed how the making of the album was intrinsically linked to her personal healing. She mentioned concentrating on singing to herself in a way she needed to be sung, using music and language to process old stories she had feared telling. This intense period coincided with struggles related to an eating disorder, a recent breakup, and a diagnosis of Premenstrual Dysphoric Disorder (PMDD).

    Finding solace in the music proved transformative. She noted that living within these songs had an incantatory effect, allowing her to purge old feelings and feel lighter. She also credited other influences, praising Charli XCX’s Brat as a “weather system of fearlessness and fragility,” and appreciating the space provided by other artists like “360” for keeping her grounded.

    The celebration included an eclectic collection of unreleased tracks, some dating back to 2022. This sonic dump featured experimental versions of album openers, including a sleepy-whisper opener called “Holding a Hammer,” and deconstructed takes on the album’s title track. Other pieces shared included the funky instrumental “Flux Day 2” and various alt versions of singles like “What Was That” and “Chewing Gum.”

    Beyond the musical material, the release offered a fascinating look at the experimentation within the studio. Several tracks received multiple versions, including “Man of the Year,” “Current Affairs,” “Clear Blue,” “GRWM,” and “If She Could See Me Now,” all revealing Lorde’s eclectic approach to recording.

    The visuals accompanying this release were equally raw and honest. The collection featured close-ups of skin—including what Lorde described as a thick beard going down her neck—and artistic shots that explored the “crookedness and slant” of the journey, rather than just celebrating an endpoint.

    Virgin successfully debuted at No. 2 on the Billboard 200, solidifying its place as a powerful cultural statement, while Lorde’s personal reflections provided a vivid and deeply honest narrative of what it took to bring that vision to life.

    Credit: Billboard

  • Staind frontman Aaron Lewis responds to his soon-to-be-released MAGA album cover already being used as shredded packaging for Taylor Swift merch

    In a moment of delightful, chaotic coincidence, music fans have been receiving merchandise wrapped in paper that, when unfolded, reveals bits of material from an upcoming album.

    This amusing mix-up caught the attention of Aaron Lewis, the frontman of Staind, who responded to a fan’s unboxing video with some wonderfully dry wit.

    The flurry of activity began when fans who ordered merchandise related to Taylor Swift’s new single “I Knew It, I Knew You,” and her involvement in the Toy Story 5 soundtrack discovered their packages were wrapped with paper featuring lyrics and art from Lewis’s yet-to-be-released album, Give Me Back My Country.

    With the new record due out on July 17th, this unexpected pairing of pop culture titans created instant social media buzz. Some speculated that Swift, known for leaving fans with Easter eggs to decode, might have deliberately incorporated his material, though the reason remained open to interpretation.

    When confronted with the sight of his forthcoming album materials shredded and used as packaging in Swift merchandise, Lewis offered a response that perfectly captured the absurdity of the situation. On X/Twitter, he posted, “Oh look, there’s my new album, that hasn’t even been released yet, shredded as packaging paper in Taylor Swift merch. Ain’t that some shit.”

    The exchange quickly evolved from a lighthearted joke into a moment of deeper reflection on the relationship between artists and their distribution systems. Lewis, who has successfully navigated different musical landscapes—from alt rock with Staind to politically conservative country tracks—spoke about the wider implications of the experience.

    He reflected that while he didn’t blame Swift for the fun mix-up, he expressed a sense of bewildered confusion over the happenstance. “We live in two very, very different worlds,” Lewis noted. “And she’s such a huge star that her world doesn’t intertwine with anyone’s worlds. I certainly wouldn’t be trying to bring her into this or blame her for anything.”

    Lewis emphasized the trust placed in distribution channels when releasing art. He shared that as artists, they rely on these companies to handle their material responsibly and ensure it reaches fans correctly.

    Despite the humorous chaos of the merchandise mix-up, the wider connection between Lewis and Swift remains a point of public interest, particularly given their history together at events like Nashville’s Music City & Wine Festival.

    Credit: NME