The year kicked off with the Mechanical Licensing Collective’s (MLC) — and the much less talked about Digital Licensing Coordinator, or DLC — first-ever redesignation process.
Music publishing has long been considered to be a slow and steady revenue stream for the industry — the business of rounding up pennies for the underlying musical work copyright. But anyone who works in the field will tell you that in publishing there is plenty of drama and action behind the scenes, even if it feels, to outsiders, like the drama surrounds overly-complicated minutiae.
During this process, publishers, songwriters and streaming services are able to write letters explaining whether or not they think the MLC and DLC should continue on in these official roles and, in their opinion, whether any improvements should be made. And boy, did a lot of people write in! .
The beef between rappers Kendrick Lamar and Drake was certainly the event of the year for hip-hop heads, but it also spawned a possible new precedent for publishers. On May 24, Sexyy Red and Drake teamed up on the trackComplicated sample clearances happen all the time, of course, but this one had a strange twist.
While it remains to be seen if further AI regulations will change the process Woodard and Carter set up, the song provided publishers with sneak peek into the future — one where songwriters and producers might be using AI in integral parts of the song-making process.Hipgnosis, founded by Merck Mercuriadis, is known as the company that revolutionized the catalog market, driving up the price for music to new heights and turning it into a sought-after asset class for investors of all backgrounds.
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