ASCAP, the only remaining non-profit U.S. PRO, delivered a record $1.835 billion in revenue in 2024, a 5.7% increase over 2023 with ASCAP 2024 distributions up 6.5% to $1.696 billion.
There’s just 1 week left for indie venues, festivals and promoters to take the NIVA State of Live survey, the first ever independent economic study of the U.S. independent live sector.
The Clio Music Awards winners have been announced for 2025 recognizing creative excellence in music marketing and the use of music in advertising globally.
LIVE (Live Music Industry Venues & Entertainment), a coalition of 15 live music organizations, has launched LIVE Green Clauses, a green contractual clause template for artists booking contracts.
Craft vs Character: The music industry is trapped in a system that rewards personality over craft, forcing artists to become content creators first and musicians second, writes Mark Mulligan.
There is growing talk about blowing up the compulsory license for songs in the US under Section 115 of the Copyright Act. But while the current deal is not a good one, unhappiness with DSPs and streaming royalties should be channeled carefully, says Chris Castle.
Universal Music Group (UMG) has announced its official adoption of ISNI IDs as a global identifier assigned to anyone involved in the creation of intellectual property.
With the internet and digital technologies driving rapid change within the music industry, articles about new releases and who has been hired and fired are no longer enough. Our up to the minute industry news alongside insightful commentary helps our readers sift through the rumors and developments to find the information they need to keep their businesses moving forward.
Hypebot is read daily by more than 30,000 music industry professionals including executives and senior staff of music related tech firms, internet based music sites, every major label group and most indies as well as many managers, artists and members of the live music community:
