Industry News Courtesy Of Hypbot                   

You're Buying The Wrong Size T-Shirts And Your Band Is Losing Money [Size Chart] 

TshirtAs music sales decline, making money from merchandise grows in importance and sizing the mech you buy in advance is probably the area where most artists get it wrong.  So, here’s a breakdown of the main sizes of mens/unisex t-shirts that you should use as a baseline.


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An Artist's Guide To Building Lasting Contacts In The Music Industry 

Tab_widthWhen it comes to making it in the music industry as a DIY artist, the value of proper networking and building lasting contacts cannot be underestimated. Here we offer a series of tips on developing quality connections to advance your musical career.


Guest Post by Louise Dodgson on PledgeMusic News

As the saying goes, “It’s not what you know, it’s who you know.” Although more digital tools and services exist than ever before to assist DIY musicians, you will still, at some point, need to call upon worthwhile contacts and outside knowledge to help you.

Building valuable contacts and relationships requires more work than just getting your hands on names and numbers. These tips should help you get your foot in the door, but also help you develop quality connections to move your music career in the right direction.

Before you start making contact with music industry folks, take time to ensure everything they will need to see and hear is in place. Your website and social media should be up to date, and all necessary items including images, gig listings, video and reviews should be ready at hand. First impressions really do count, so well presented details, packaging and a good quality recording are essential.

Research-performance-analysisFind out who to send your music to and how they prefer to receive it. Don’t make assumptions about which formats they prefer or by which method they want to be contacted. For example, some labels and blogs may prefer not to receive MP3s – large files will clog up inboxes so sending over MP3 attachments will mean it’s likely your email will be ignored or caught by spam filters. Make a couple of polite inquiries initially, research will pay off in the long run.
Avoid blanket mailing, it can be spotted a mile off – it’s always best to personalise any communication. Carry out research to find out a specific contact name where possible, look into the genres companies specialise in, investigate their previous work or other acts on their rosters. This will allow you to demonstrate why you’ve chosen to make contact with them in particular and why your music could be of interest to them.

There’s no harm in politely following up your demo submission or communication, typically leaving 4 to 6 weeks from your initial contact. Of course, don’t hassle too much, but perseverance is a must.

When working to build worthwhile relationships in the music industry, it’s vital to make sure you’re targeting the right people for your campaign. A fundamental understanding of the music business is essential so find out which aspects of the industry are important to you and why, and focus on these.

Record labels, agents, managers and other music companies are looking for artists that can demonstrate they’re proactive – they’ll want to see you putting in just as much time and effort as them! By releasing your own music, promoting your own events or producing your own merchandise you’re demonstrating awareness of music business. You’re also more likely to meet contacts by doing it yourself, not to mention broadening your knowledge of the industry in the process.

Meeting music industry professionals at conventions, master classes and industry seminars is a great way to make new contacts. At music industry events, panellists will often hang back after they’ve finished speaking so members the audience can approach them to ask a specific question or two. Make the most of these opportunities! Going to gigs, connecting with other bands who can put you in touch with recommended contacts and being active in your local music scene will always help you contact professional, like-minded individuals and music companies.

Building a credible network of music industry contacts won’t be an overnight process, and forging any valued relationship takes time. Your input must be professional and genuine. Relationships work two-ways and communication is king. You can’t just expect help — you must give something back – so show you know it’s all about the music.

This is a guest blog, written by Louise Dodgson, Editor at The Unsigned Guide, an online music industry directory. Since 2003 The Unsigned Guide has been used by emerging bands, artists, producers and music managers to search over 8,500 UK music contacts across 50 sectors of the industry.

Kobalt Acquires Terry McBride's 18,000 Song Nettwerk Publishing Catalog In Deal Estimated At $25 Million 

image from www.nettwerk.comTerry McBride and Nettwerk Music were once the darling of the new music industry for championing progressive flat licensing and a willingness to work with music tech startups. So it seems fitting that Nettwerk's 18,000 song catalog has been acquired by another company working to shake up publishing and the music business.


KMC, the investment fund of Kobalt, has acquired a "significant portion of The Nettwerk Music Group publishing catalog, including more than 18,000 songs developed and acquired by Nettwerk over the last 30 years, and entered into an exclusive administration agreement to administer Nettwerks' retained titles and future signings.  KobaltLOGO

Nettwerk's catalog includes songs from 10,000 Maniacs, Teenage Fanclub, Wayne Hancock, Paul Brady, Jesse Malin, Sinead O'Connor, Bauhaus singer Peter Murphy and dozens of others. 

Details of the deal were not released, but the catalog was being shopped at an estimated value of $20-$25 million.

"In a digital world where streaming has become the predominant way we consume music, it is important that our artists are partnered with the best technology company in the publishing space to see the full value of their creations," said McBride. "KOBALT simply is the best, and also the most transparent. We are very happy KOBALT will be the new home to NETTWERK's 30+ years of legacy, as well as our partners moving into the future."

KOBALT Founder/CEO Willard Ahdritz added, “I am excited that KOBALT will be servicing KMC's new acquisitions of NETTWERK copyrights with so many great writers and works in their catalog. Terry has built a great company and I’m thrilled to welcome him and his team into the KOBALT family.” 

How Music Laws Affect Local Venues 

BarMixerBars, clubs and like businesses will frequently play recorded music as well as hiring live bands. To do so, however, said venues must pay performance rights organizations fees in exchange for the use of their copyrighted material. Here we breakdown how the laws surrounding these sorts of transactions work.


In this recent piece from MusicThinkTank, Rachelle Wilber delves into the world of PROs, licensing fees, and fee expemptions in an exploration of the how copyright laws affect local venues.

"Playing music without paying a licensing fee puts the offender at risk of being sued for copyright infringement. Damages awarded for not paying licensing fees range from a current minimum of $750 per song infringed upon up to $150,000 per song. Anyone who owns a venue that uses music needs to make sure they are in compliance with music licensing requirements."

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U2, Sting, Drake, Britney Spears, Sam Hunt Headline Impressive iHeart Radio Festival Lineup  

image from s3.amazonaws.comiHeartMedia may be struggling to pay the bills, but they've still got the cash and clout  to put assemble an impressive festival. And one look at the 2016 iHeartradio Festival lineup reminds just how much that mega-hits - past and current - drive commercial broadcast radio.



 iHeartMedia today announced the lineup for the 2016 iHeartRadio Music Festival on September 23 and 24 at Las Vegas’ T-Mobile Arena.  The hit driven lineup includes U2, Sting, Drake, Britney Spears, Sam Hunt, twenty one pilots, Billy Idol, Florida Georgia Line, OneRepublic, Sia, Cage the Elephant, Zedd, Tears for Fears, Ariana Grande, Pitbull and Usher, along with this year's Macy's iHeartRadio Rising Star winner, Los 5.

Each night, the festival will broadcast live for fans via iHeartMedia radio stations throughout the country across 150 markets. The CW TV network will also livestream both nights and The CW App, and then re-broadcast a two-night television special on Thursday, October 6 and Friday, October 7th from 8 p.m – 10 p.m. EST/PST.


Emerging Artists

A Daytime Village at the iHeartRadio Music Festival also returns to the Las Vegas Village across from the Luxor on Saturday, September 24 with performances by Sam Hunt, Panic! At The Disco, Alessia Cara, Troye Sivan, Hailee Steinfeld, Good Charlotte, Jeremih, Lissie, Cold War Kids, Daya, Cage The Elephant, The Chainsmokers, Bryson Tiller and DNCE. The Village will also feature fan zones and specially curated interactive experiences by iHeartRadio’s brand partners.

How To Get Tickets

Beginning today at 9 a.m. EST / 6 a.m. PST, MasterCard holders will have access to a limited number of tickets through a special pre-sale for the iHeartRadio Music Festival.  Tickets will be available only at Tickets go on sale to the general public on July 30 at 1 p.m. EST/10 a.m. PST via  Tickets for the Daytime Village are also on sale and can be purchased via

  image from


Music Creators Send Dept. Of Justice Letter Opposing 100% Licensing, Demanding Comment Extension  

OpenletterHere we look at a letter from the Music Creators North America protesting the Department of Justice's recent decisions regarding full work licensing and partial withdrawals.


Guest Post from Artist Rights Watch

Dear Principal Deputy Assistant Attorney General Hesse:

The following comments are submitted by Music Creators North America, Inc. on behalf of a global coalition of half a million songwriters and composers from the United States, Canada and our global sister organizations, in response to the request from your Division for reaction to its oral report to us regarding the ASCAP and BMI consent decrees.

We begin by stating once again that we strenuously object to the timetable set by the DOJ for the submission of these comments. Unlike the many multi-­‐national, billion-­‐dollar corporations identified by your Division as “interested parties” concerning this matter (including one of the world’s richest, most powerful and influential corporations, Google), our coalition of music creators does not have and cannot afford to maintain an army of antitrust attorneys and experts to immediately prepare a detailed analysis and refutation of the solely telephonic report we were given by DOJ.


We have asked several times for a reasonable extension of time to research and comment, made even more crucial by the fact that many of our individual members are on concert tours during the summer months and unable to be reached or canvassed. Your Division has offered as the explanation that because DOJ has received such intense criticism over its leaked comments in the press, it desires to get its official comments on the record as soon as possible.  We do not consider that a valid reason for refusal.

Nevertheless, we were given just a few days to prepare a critique on conclusions that it took the DOJ two years to reach, and to which we have been given no written access. We have been forced therefore, to make our comments brief and to the point:

1. We regard the announced intentions of the DOJ (a) not to amend the ASCAP and BMI consent decrees in ways that would allow us to receive fair market value for the performance of our works, and (b) to impose mandatory “full work licensing” on a copyright co-­‐owner or co-­‐ administrator if is so requested by a copyright user, as serious injustices that will further damage the ability of songwriters and composers to earn a living through our chosen profession. In the digital age, no group of creators has suffered more severe income devaluation (despite a substantial increase in the public consumption of our works) than songwriters and composers. The DOJ appears poised to add to these miseries.

2. Moreover, damage to individual music creators is not the only problem that the DOJ will be exacerbating. Its contemplated conclusions are likely to cause serious damage to the future of American and global musical culture, and thus to future public access to and enjoyment of new music. By erecting hurdles that may substantially hinder collaboration among music creators in the future, and by adopting positions that drastically reduce the financial incentive to create in favor of driving royalty rates well below fair market value to serve the interests of corporations whose music distribution businesses have been built principally on our creative works, the DOJ is acting in ways that are inconsistent with principles of fairness and common sense. Its contemplated actions, in fact, fly directly in the face of the US Constitution’s celebrated recognition of the importance of motivating and protecting creators and inventors for the betterment of the community.

3. We are also compelled to express deep concern that the DOJ did not give adequate consideration to international issues that impact on its pending recommendations (including World Trade Organization rules and protocols and US international treaty obligations), or to the recommendations of the US Copyright Office and other departments of the US Government more expert in intellectual property matters. The reasons underlying these seemingly willful omissions are unsettling to our community, and deserve further scrutiny.

As noted in our public statement (attached), the ONLY solace that may possibly be taken by music creators from the DOJ’s articulated intentions has been its decision not to approve so-­‐called “partial withdrawal” by music publishers from ASCAP and BMI. Allow us to be clear that we do not regard this narrow point as negating in any way the damage inflicted on our community as described in the numbered points above. We simply acknowledge that the DOJ took the time to understand that granting such a privilege to music publishers would eviscerate the abilities of creators to defend themselves against an increasing lack of royalty transparency, resulting in serious additional losses to songwriters and composers.

This Week In Music Commentary 

6a00d83451b36c69e201b8d18e81c1970c-800wiThis week in music commentary, we hear thoughts and opinions on how the formula which makes Pokemon Go so successful could be applied to the music industry, the coming of internet radio's "value shift," a potential defense of YouTube's monetary policies, and more.

TOP POSTS: Last Week’s Most Read Posts On Hypebot  

6a00d83451b36c69e201bb0849ee68970d-800wiIn Hypebot's most popular articles this week, we looked at Rhapsody users' rebellion over the Napster switch, Twitter's simplification of the account verification process, the explosion of Pokemon music on Pandora, and more.

Getting It Done: The Week In D.I.Y & Indie Music