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Billboard Canada FYI Bulletin: SOCAN Distributes Record-High Royalties

Plus: A Bob Mackowycz Memorial Fund, an Alanis anniversary, and a love-in for Richard Flohil's 90th birthday bash at Lula Lounge.

It's a record year for SOCAN.

The Canadian rights management organization has released its 2023 financials following its Annual General Meeting in Montreal. They show half a billion dollars ($523M) in collections and record-high royalty distributions ($442M) to songwriters, composers and music publishers.

Highlights of the 2023 results:

$523M total collections – an 8% increase over 2022.
9% year-over-year increase in total international royalty collections ($119.9M).
8% year-over-year increase in revenue collected in Canada.
13% year-over-year increase in revenue from digital sources.
$ 442 million total distributions – a 22% increase over 2022.
Concert distributions increasing from $6 to over $17M.
Reproductions Rights royalty distributions increasing to $9.9M.
Expense-to-revenue ratio was maintained at 12%.

The report in full can be downloaded here.

– A Bob Mackowycz Memorial Fund has been set up by his family for the well-respected broadcaster and author best known for his work on Q-107 who died unexpectedly on May 30, at age 75. Donations support Canadian music workers and will be directed to The Unison Fund, a registered charity that provides mental health counselling and emergency financial support to music workers in times of hardship. You can click here to donate.

– Richard Flohil’s 90th-anniversary birthday bash at the Lula Lounge in Toronto’s west end on Monday night (June 24) was an old-fashioned love-in for the celebrated and well-loved impresario, raconteur and writer who has long been recognized as a bellwether of underground roots music in Canada. On this night, he amassed a great number of his favourites including Serena Ryder, Shakura S'Aida, Gloria Martin, Kevin Breit, Corin Raymond, Treasa Levasseur, Paul Reddick and, in spirit if not in person, David Gavan Baxter.

The hard-ticket show divvied up the gate between the performers and the Unison Benevolent Fund, which will see several thousand dollars come its way. He candidly admitted from the stage that he may have to appeal to that musicians' relief fund at some point, but for now, an oversized jar was passed around with friends readily giving what they could to fund his next fun-filled frolic to the U.K.

Co-hosting the show was longtime ally Holger Petersen and the ever-outrageous Jaymz Bee, whose outfit was loud enough to scare off a moose. And what’s a show without a surprise? Overlooking burlesque queen Sonya Cote bursting from a stage prop birthday cake that had our man of the evening sitting gobsmacked on stage drinking in the adulation, there was the short set fronted by Trombone Charlotte (McAfee-Brunner) whose exuberance and obvious talent made her a star in an instant this night. All in all, it was a night to remember.

Why Richard Flohil hasn’t been given a Hall of Fame, Walk of Fame or Lifetime Achievement Award as yet is a mystery to me. Meantime, he has made his own history, helped so many and proven himself to be a man of constant humour and wit the likes of whom there is no equal.

Below, with Delta Sugar, is Trombone Charlotte at the Lula Lounge on Monday night.

– Congrats to the Julian Taylor’s Jukebox team on winning the 2024 CRABO Award in the Best Syndicated Radio Show, as given by the National Campus & Community Radio Association.

– Canadian country imprint MDM Recordings has aligned itself with ADA Canada, the independent label and artist services arm of WMC, in a new deal that is global in reach. Now in its 16^th year of operation, the imprint founded and run by Mike Denney reports an impressive 450M global streams and over 500K physical units sold. The label was previously distributed by UMC.

–CAPACOA has released a series of statistics and infographics on Canada's performing arts industry that suggests the live performance sector contributed $3.6B to the GDP last year and accounted for 78K jobs in the same period. The infographics can be viewed here and the source data resources here.

– Alanis Morissette’s multi-platinum Supposed Former Infatuation Junkie is getting special treatment from the folks at Rhino Records with 2 2-LP editions pressed on black and clear vinyl to celebrate the 25^th anniversary of the 1998 album. Originally released on Madonna’s boutique Maverick imprint, a digital version of the album augmented with four bonus tracks has been released. The vinyl editions will be released on Sept. 6. Alanis caught a lot of attention singing both national anthems before Game 7 of the NHL's Stanley Cup Finals on Monday night (June 24).

– Taking their name from a streetcar line in the band’s native Toronto, well-employed but less-known quartet The 501 East is finally stepping out of the shadows as session guns for hire and releasing Short Turn, an album imbued with Americana, jazz, funk and blues. You can get a taste of the band’s debut here.

Music Publishers Canada Names 2024 Women in the Studio National Accelerator Class

The initiative aims to boost the careers of producer-songwriters and address a glaring gender imbalance behind the scenes of the music industry.

Vancouver producer and musician Cat Hiltz, one of the participants in the 2024 Women in the Studio National Accelerator .

There's a gender imbalance behind-the-scenes of Canadian music, and Music Publishers Canada (MPC)'s Women in the Studio National Accelerator aims to address it.

Recently released statistics have confirmed the major gender gap in multiple facets of the Canadian music industry, and this is especially glaring in the field of music production.

The Women In The Studio program fosters professional growth and advancement of talented producer-songwriters from across Canada. MPC has announced all six participants for this year's program: Alysha Brilla from Toronto, Cat Hiltz from Vancouver, Charmie from Toronto, Jinting (Jinting Zhao) from Edmonton, JoJo Worthington from Montreal, and Samantha Selci from Toronto.

They're all accomplished up-and-coming artists and professionals in different ways, and bios for all 2024 participants are available here.

Now in its sixth year, the program offers participants a series of curated workshops, skills training and networking opportunities with music industry leaders. The goal is to equip them with skills and connections crucial for their advancement in the music industry.

The Accelerator will run virtually from June to December and will include creative collaborations and an in-person residency week in Toronto in August. The Accelerator focuses on topics including technical skills, financial literacy, music business skills and branding. Participants have also committed to exploring volunteer opportunities within their own communities.

Music Publishers Canada CEO Margaret McGuffin says that "with the help of our program partners and industry network, we are looking forward to breaking down some of the barriers that exist for this group of talented producers and give them the support they need to enter the next phase of their careers."

Meg Symsyk, President and CEO of FACTOR, states that “only 6% of the songs you hear are produced by women. FACTOR will continue funding the vital Women In The Studio program until this figure achieves parity."

Karen Thorne-Stone, President & Chief Executive Officer of Ontario Creates, notes that "empowering women in music production not only contributes to a more inclusive industry but also makes good business sense and ensures that Ontario remains a vibrant hub for musical talent and creativity. "

The Women in the Studio National Accelerator is presented by Music Publishers Canada, supported by RBC Foundation, FACTOR/Government of Canada and Ontario Creates and sponsored by Cassels and Compass Rose.

Hipgnosis Songs Fund Agrees $1.4B Sale to Concord Chorus

The deal values each Hipgnosis share at £0.93, a premium of roughly one third the royalty fund's shareprice at the close of trading on Wednesday.

The troubled music royalty company Hipgnosis Songs Fund (HSF) has agreed to a $1.402 billion takeover bid from Nashville-based rival Concord, according to a filing made Thursday (April 18) to the London Stock Exchange.

The deal values each Hipgnosis share at £0.93, a premium of roughly one third the fund’s closing shareprice on Wednesday, and shareholders controlling nearly 30% of the company are supporting it, according to the filing. Hipgnosis Songs Fund’s assets include stakes in songs by Neil Young, Justin Bieber, Journey, Lindsey Buckingham, Blondie and Justin Timberlake, among others.

“The board is pleased to announce and unanimously recommend this US$1.4 billion offer for Hipgnosis from Concord,” Robert Naylor, chairman of Hipgnosis, said in a statement. The acquisition “represents an attractive opportunity for our shareholders to immediately realize their holding at a premium, mitigating the risks we see ahead to achieving a material improvement in the share price.”

The annoncement comes roughly six months after shareholders rejected another proposed sale and voted no to continuation–the equivalent of a vote of no confidence in the 5-year-old fund’s previous board and its investment advisor, Hipgnosis Song Management.

In the intervening months, the board of directors has been almost entirely reconstituted by Naylor, who became chairman last November, and Hipgnosis’ founder, the former manager of artists like Elton John, Beyoncé and Guns N’ Roses, Merck Mercuriadisstepped down from his role as chief executive officer of Hipgnosis Song Management in February.

Matters took another turn last month when HSF, which has amassed a catalog that includes stakes in songs by Neil Young, Justin Bieber, Journey, Lindsey Buckingham, Blondie, Justin Timberlake and many other artists and writers, cut the value of its portfolio by more than a quarter and told investors that it does not intend to recommence paying dividends “for the foreseeable future” as it focuses on paying down debts.

Compiled by the board’s lead independent adviser, Shot Tower Capital, the report found that Hipgnosis Song Management, run by Hipgnosis founder and music manager Merck Mercuriadis, materially overstated the fund’s revenue and earnings before interest, taxes, depreciation and amortization (EBITDA) and supported catalog acquisitions with financial analysis that failed to meet “music industry standards.”

HSF itself overstated the scope of its music assets, the report noted, in disclosures to investors and regulators. And in a pitch last September to investors to sell some 29 catalogs to a sister Hipgnosis company, the fund included a better-than-could-be-expected post-deal valuation, the report found.

Following completion of the acquisition and a short transition period, reads a statement to the London Stock Exchange, it is expected that Concord will take over the management of Hipgnosis’ assets, adding to a business that, since 2015, has completed more than 100 transactions across recorded music, music publishing and theatricals, in a US$2.8 billion spending spree.

The Hipgnosis board, Naylor continues, is confident that Concord is the “right owner” to take on the Hipgnosis catalogue and manage it in the interests of composers and performers.

The offer has been unanimously recommended by its board and has the support of 29.38 per cent of their shareholders, comments Bob Valentine, CEO of Concord, controlled by investor Alchemy Copyrights. “We believe we are offering a fair price for Hipgnosis’ catalogues and music assets, giving its shareholders the opportunity to realize their investment at a significant premium to the prevailing share price in cash.”

Concord’s leadership identifies Hipgnosis’ assets as further means to grow its business and scale and leverage its operations.

“Concord and its management have followed the progression of Hipgnosis since IPO and believe that Hipgnosis’ assets complement Concord’s long-standing objective to acquire high quality and long-term music assets,” according to Concord’s statement. “Concord believes that the quality of Hipgnosis’ assets are consistent with Concord’s existing holdings, and creators connected to the rights acquired will benefit from the services of Concord’s existing creative and administrative support teams globally.”

This article was first published by Billboard U.S.

Travis Kelce’s Super Bowl ‘Viva Las Vegas’ Scored a Payday for the Song

Kelce's celebratory interpretation of the Elvis Presley hit's chorus counted as a public performance of the classic tune.

Travis Kelce #87 of the Kansas City Chiefs celebrates with the Vince Lombardi Trophy following the NFL Super Bowl 58 football game between the San Francisco 49ers and the Kansas City Chiefs at Allegiant Stadium on Feb. 11, 2024 in Las Vegas.

For Will Bratton, the best part of Super Bowl LVIII was not when Kansas City Chiefs wide receiver Mecole Hardman caught the game-winning pass for an overtime touchdown or when Chiefs kicker Harrison Butker nailed a 57-yard field goal. It was when Chiefs tight end Travis Kelce, during the trophy ceremony after the game, belted out an impromptu, raggedy chorus of “Viva Las Vegas” on the CBS broadcast.

Those three words, repeated several times in a pacing and melody only vaguely resembling Elvis Presley’s classic 1964 hit, have delivered an unexpected payday for the song’s rights holders.

“We were very excited about him doing that,” says Bratton, president of Pomus Songs Inc., namesake publisher for the late Doc Pomus, who wrote the song with Mort Shuman. “Royalties are paid for that performance through BMI.”

Kelce’s rendition constituted an “ephemeral use,” according to Rachel Jacobson, who oversees film and TV for Warner Chappell Music (WCM), which administers Pomus’ recordings. As when a marching band plays an off-the-cuff snippet of a song during a televised football game, the use generates a royalty payment through BMI as a public performance. “Anything beyond that, then you come and clear it,” she says.

Although Bratton couldn’t say how much money Pomus Songs made from Kelce’s performance — “BMI’s generally three quarters behind, so we won’t have that data until probably next December” — the revenue is likely to continue. Late-night talk shows airing Kelce’s version would have to pay for a “previewing synch license,” according to Bratton, which would lead to a negotiated fee as opposed to the ephemeral use royalty payment. WCM’s Jacobson is not aware of any requests for such a license involving Kelce’s rendition of “Viva.”

For the Super Bowl, Bratton says, “It was also licensed to CBS Sports for a pre-game show and it was shown once during the game over a viewing of Taylor Swift. That paid — I don’t want to say how much, but it was good money.”

Written for the Presley film of the same name, “Viva” has come to symbolize Las Vegas glamor-and-gambling culture and has been covered by Bruce Springsteen, Dead Kennedys, ZZ Top and Shawn Colvin. Bob Dylan wrote a chapter about the song in his 2022 book, The Philosophy of Modern Song: “This is a song about faith. The kind of faith where you step under a shower spigot in the middle of the desert and fully believe water will come out.”

The song was also in The Big Lebowski and a Viagra commercial (“Viva Viagra”), which, Bratton recalls, “was a very nice synch license momentarily — but I’m not sure if we regret it or not.”

Pomus, a Rock and Roll Hall of Fame songwriter who wrote classics such as The Drifters’ “Save the Last Dance for Me” and “This Magic Moment”; The Coasters’ “Young Blood”; and Presley’s “Little Sister,” was a “sports fanatic,” according to Bratton, who is married to Pomus’ daughter, Sharyn Felder. “He would have been thrilled that his song was used like that,” he says of Kelce’s “Vegas” rendition. “It was more of a holler than a sing. It was his enthusiasm that was notable.” He adds: “We just like it to make money.”

This article was originally published by Billboard U.S.

Scott Weiland Estate Strikes Wide-Ranging Partnership With Primary Wave

The two entities will work together to exploit new opportunities around the late Stone Temple Pilots frontman's music and legacy.

The estate of late Stone Temple Pilots frontman Scott Weiland has partnered with Primary Wave Music to mine new opportunities for the singer-songwriter’s music and overall legacy, it was announced on Wednesday (Jan. 24).

Under the deal, Primary Wave will partner with the estate to capitalize on Weiland’s publishing copyrights and recording royalties for all songs and recordings by Stone Temple Pilots, his later group, Velvet Revolver, and his solo output.

The agreement also gives Primary Wave a share of Weiland’s name, image and likeness rights, while the estate will be given access to the company’s marketing team and publishing infrastructure. The two entities will work closely on new marketing, branding, digital and synch opportunities along with film and TV projects.

Formed in 1989 by Weiland, Dean DeLeo, Robert DeLeo and Eric Kretz, Stone Temple Pilots released a total of six studio albums with Weiland as frontman, four of which hit the top 10 on the Billboard 200 and one of which (Purple) debuted at No. 1 on the chart. Velvet Revolver also saw success, with the band’s 2004 debut, Contraband, landing at No. 1 on the Billboard 200 and its second and final album, Libertad, debuting at No. 5 on the tally. As a solo artist, Weiland released a total of three studio albums and one with his band the Wildabouts in 2015.

Weiland scored six Grammy nominations during his lifetime and won two — one for best hard rock performance with vocal for Stone Temple Pilots’ 1993 single, “Plush,” the other for best hard rock performance for Velvet Revolver’s 2004 single, “Slither.”

“There are few rock artists that had the impact that Scott Weiland did on music,” said Larry Mestel, CEO/founder of Primary Wave Music, in a statement. “We are honored to partner with Scott’s family on such a legendary catalog of music and career. Scott’s influence on music is unparalleled and he remains one of the most influential musicians in rock music. We are extremely grateful the estate has chosen to partner with us to continue to grow his incredible legacy.”

“We believe that Primary Wave are the perfect partners to secure Scott’s legacy as one of the great front men in rock history,” added Brian Harris Frank of Shelter Music Group and Dana Dufine of DBD Squared Entertainment, who manage Weiland’s estate. “We look forward to working with Larry, Natalia, Adam, and their teams and believe that their ability to connect artists with culture will ensure that Scott’s impact will be felt for generations.”

Natalia Nastaskin, chief content officer at Primary Wave, added, “Scott is the original influencer. The stories behind his undeniably authentic lyrics, effervescent performances, impeccable fashion sense, and meteoric rise to stardom are a filmmaker’s dream. I’m thrilled to work with Scott’s family, as well as Dana and Brian, on expanding and extending Scott’s legacy through new compelling IP projects across film, television, and stage.”

Weiland died of an accidental drug overdose on Dec. 3, 2015. He was 48.

This article was first published by Billboard U.S.

The Billboard Canada FYI Bulletin: Chantal Kreviazuk Sells Song Catalogue to Anthem Entertainment

Also this week: Dan Hill preps career spins higher, Martha and the Muffins recording takes on rampant gun violence.

After decades as a Sony/ATV Music Publishing Canada songwriter, Winnipeg-born multi-faceted and multi-platinum selling singer Chantal Kreviazuk spun heads earlier this week when it was announced that her song catalogue – that includes “Boot,” “In This Life,” “Time,” “Weight Of The World” and “Get To You,” alongside certified hits and collaborations recorded by Christina Aguilera, Kelly Clarkson, Drake, Avril Lavigne, Pitbull, Shakira, Britney Spears, Gwen Stefani, Carrie Underwood – had been acquired by Anthem Entertainment.

She has won three Juno Awards and was awarded the Order of Canada in 2014, along with her husband, Raine Maida, for their efforts to raise awareness and support for human and animal rights, mental health, education and the environment.

– Barbados copyright collective COSCAP has signed a partnership agreement with the CMRRA (The Canadian Musical Reproduction Rights Agency) to oversee the mechanical reproduction rights of its members in the Canadian market. CMRRA-affiliated SX Works Global Publisher Services division will help manage the end-to-end administration on behalf of COSCAP members with The Mechanical Licensing Collective (The MLC) in the U.S.

The agreement covers 1,133 Bajan artists and their copyrights and approximately 48 music publishers from the island nation.

– Martha Johnson and Mark Gane continue to keep Martha and the Muffins' legacy alive. The most recent evidence of this is the release of Stephen Stills’ song “For What It’s Worth,” a mid-'60s Top 10 hit from his time in Buffalo Springfield and known to some as “Stop, What’s That Sound?”

Johnson explains why the band decided to cover this song now: “Gun violence is an ongoing societal blight, a perverse virus perpetuated by hypocrites mouthing their meaningless recitations of ‘thoughts and prayers.’ With this in mind, our interpretation is slower and darker and considers the possibility that events that were once rare and unacceptable are now met with a shrug of indifference.”

Since its release, the song has had many covers over the years. Among artists covering it are Rush, The Jeff Healey Band, Kid Rock, Eric Clapton, Miriam Makeba and Vanilla Fudge.

– Dan Hill’s enormously successful catalogue of songs is enjoying a renaissance thanks to his assignment of copyrights to Anthem Entertainment, with placements now appearing in commercials, on TV shows, and all leading to a possible U.S. TV special. He's perhaps best known for “Sometimes When We Touch,” (Dolly Parton’s “favourite song of all time”’), which has had 37M YouTube views and over 100M downloads and has been recognized as one of the Top 100 Songs of the Century and one of Top 100 Most Played Songs of All Time (BMI).

Not resting on his royalty income, Hill is discussing the possibility of a road tour double-bill with his equally accomplished songwriter friend Andy Kim.