An analysis of the biggest platforms’ monetisation features for the artists, managers and more, turning to live streaming for a new income stream.

This post was written by Henry Prince and Jeremie Joubert.

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Photo by Luis Morera on Unsplash

Eight months into the pandemic it feels somewhat trite to begin by stating the unprecedented ascendance of the live streaming format in music. Yet artists who relied massively on touring income are still struggling terribly, and many have already turned to live streaming or have felt pressured to do so, wondering how it could work for them. According to a Bandsintown data report, 70% of artists are hoping to increase the frequency of their live streams — but is this medium viable? What tools exist at the disposal of artists…


Jon Hopkins popped up in my Google News ‘suggested articles’ this morning. He has released a new ambient track called “Singing Bowl (Ascension)”. The black and white photo of him floating in a pool with his shirt on, looking numb and calmly staring upwards at nothing resonated with me. This was the first sign that JH was tapping into a collective state of mind. I scrolled through his twitter a bit and read through the NME article and the Clash article. Nowadays, music journalists are so used to commodifying musicians and their work that it doesn’t occur to them anymore…


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On Saturday 13th July Open Rights Group hosted their annual conference ORGCON. I’ve known the people at ORG for a few years as a volunteer and this year I was glad to give a talk about a project I’m working on.

FACT: In the space of a single decade, the most valuable companies (globally) by market cap went from being energy companies mostly selling oil, to only technology companies. …


In 1999 Lawrence Lessig published his book “Code: And Other Laws of Cyberspace” in which he argued code is law, inviting us to reflect on the forces that regulate our behaviours, and how the law affects those forces. For him it is necessary to go over the relationship between machine code and law once more. The advent of blockchain encourages him to tread old ground, remind us of how right his predictions had been regarding the internet, and warn us not to make the same mistakes again. …


I read through some EU legislation outlining the liability regime for online platforms and paraphrased it into something easily understandable. Warning: As I’ve simplified the language some important details may be omitted. This is a guide only.

E-Commerce Directive (2000)

-> Article 14)

Hosting:

1. Where user data storage services are provided (i.e. Youtube, Dropbox, Imgur…), member states shall exempt providers from liability for the information stored, on condition that;

a) the provider has no actual knowledge of illegal content

b) upon obtaining actual knowledge of illegal activity, acts expeditiously to remove of disable access to the content.

2. This (paragraph 1) will…


“The last 20 years have been distressing. Where I’ve not been allowed to speak or be myself.” — Zelda Perkins

In the wake of the Harvey Weinstein scandal, a number of women have surfaced recounting stories of sexual harassment or abuse — stories which many of them felt unable to talk about before, convinced they wouldn’t be believed. Zelda Perkins’ very well articulated story, one which she was forbidden by NDA to discuss openly, particularly caught my attention because it illustrates in a very real way the importance of being able to speak freely.

There’s a lot of talk in…

Henry Prince

Working at Believe, licensing and managing relations with digital music platforms. LLM Intellectual Property Law. https://www.linkedin.com/in/henryprince/

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