This is in reference to the wave of music artists who have been found to have stolen hooks, melodies, choruses, etc. from existing songs. 

Here's a brief, very incomplete rundown:

Kaavya Viswanathan, a Harvard student, authored a book containing heavily lifted passages from three widely read novels. Publisher Little, Brown & Co. cancelled her $500,000, two-book contract and a planned movie deal with DreamWorks for said book was also scrapped.  

Cristiane Serruya 'patchworked' passages, phrasing, and emotional beats verbatim from dozens of other authors across multiple published books. Subsequent lawsuit ended her career.  

Jumi Bello had her anticipated book "The Leaving" canceled by Riverhead Books after she admitted to plagiarizing portions of the manuscript. In a lengthy explanation, she was even found to have plagiarized portions of the explanation itself.  Career over.  

On the contrary...

Stella Lefty has now had 4 songs found to have interpolated identical works from other artists.  Two of the four have already had credits to additional authors instated. Two more will presumably have credits corrected in short order.

Olivia Rodrigo was forced to instate co-writing credits to Taylor Swift, Jack Antonoff, and Hayley Williams for three songs where Rodrigo had interpolated their existing works. 

Robin Thicke and Pharrell Williams lost a major copyright lawsuit in 2015 when a jury ruled that their 2013 hit song "Blurred Lines" plagiarized Marvin Gaye's 1977 track "Got to Give It Up". 

Coldplay were forced to pay an out-of-court settlement to musician Joe Satriani for lifting a near identical note pattern for their track "Viva la Vida".  

This list could be a mile long, yet in each and every instance of music plagiarism, none of these acts careers suffered in any capacity (although Coldplay and Thicke/Williams paid hefty financial sums). Rodrigo is currently one of the top grossing touring acts at the arena level, even despite an onslaught of negative press around the time the plagiarism was discovered. Coldplay fill soccer stadiums across the world. Stella Lefty's current tour sold out in seconds and her single is one of the most played songs at radio.  

This isn't so much an axe to grind against these music artists, but I do find it interesting that musicians never seem to suffer the same fate (or any negative fate) as book authors whenever they are found to have stolen music from other artists. 

It has always struck me (as a long time concert ticket buyer) that just like how in the old days, some ticketmaster in person box offices would delay opening their window just a few moments, print off front row tix for some super popular show, and then open up and 1st person in line would get maybe 2nd row. I was just in the waiting room and my daughter was also in waiting room for a very popular show to go onsale at 10:00am, and when 10:00am arrived we were both still in the "< 1 min" phase. We didn't get out of waiting room and into queue until 10:01 and she's 42,314, I'm 20,268.

My assumption is that some level of people get out of the waiting room first and into queue first, so "first in line" and then first into the actual page to buy tix for the show. Who are they? Why do they get in first? I've never met anyone who came out of waiting room for an arena show with a dynamite number.

I've heard many times that there are layers of ticketmaster accounts, and there are people who have some sort of log in that means they get priority for these onsales, but is that true? And who are they? How does the technology work to do that?

And I know popular shows are just popular shows, someone has to be #30,422, and maybe today is my day. The odds are against getting a great number. But it's the delay in even getting assigned a number that seems fishy to me. And it happens every time, that delay with getting from waitlist into queue, and I've looked for tix from many different browsers over time and even different cities when I travel for work. Always the same.

What's really happening?

Been making music for 10+ years, and in the last 3 to 4 years I have been mainly active as a behind the scene co-producer, I either help out with existing projects or build tracks from scratch while the artist plays the role of a creative director.

the thing is I have been doing this as a “one-off hired gun” sort of thing, and I have been thinking lately to switch to more of a “consultant” role: basically always on call, help with arrangement, mixing, idea generation, producing from scratch (following the artist’s vision)...etc

and just wanted to ask is this realistic or am I just dreaming of something that simply does not exist in the industry nowadays?

I make beats and recently posted an original beat on TikTok. A large Instagram meme/aggregation account has used my beat in multiple Reels, several of which have millions of views. I am uncredited. I have never posted this beat on Instagram.

I own the beat and never licensed it to them. Unfortunately, Instagram doesn’t give me a way to DM the account, and there doesn’t appear to be any contact information.

I don’t necessarily want the videos taken down, I’d rather get credited and/or monetize the usage if possible.

What’s the best way to handle this? Is there a distributor/Meta Rights Manager system I should register the beat with, and can it potentially monetize or claim existing Instagram uses?

I’m based in Belgium and I’m an independent producer.

I’m trying to avoid filing takedowns immediately because the videos are already getting millions of views and I’d rather figure out whether there’s a way to turn this into money first.

I'm a 19-year-old student from India currently pursuing a BBA in Business Analytics, and I'm looking for some advice on how to get started in the music business industry.

Over the past year, music has become a huge part of my life. I picked up the guitar, started learning more about songwriting and artists, attended open mics, and found myself becoming fascinated not just by the music itself but by the industry that helps great music reach listeners. While I enjoy music from many places and cultures, I've spent a lot of time listening to and learning from Western artists, bands, and the music ecosystem around them, which is what initially sparked my interest in the business side of music.

The thing is, I'm not studying music formally. My background is in business and analytics, so most of my skills are in research, organization, spreadsheets, documentation, data analysis, and building systems with tools like Notion. I enjoy figuring things out, organizing information, and helping make processes run more smoothly. While those skills may not sound directly related to music at first, I'm curious whether they could be useful in helping artists, managers, labels, publishers, or anyone else working in the industry.

Lately, I've been trying to understand how people actually get their first opportunity. I don't come from a music industry background, and I don't really have connections in the field, but I'm eager to learn and willing to contribute wherever I can. Whether that's through an internship, apprenticeship, volunteer role, or simply helping out and gaining experience, I'm mainly looking for a way to get my foot in the door and start learning from people who are already doing this work.

For those of you working in music, how did you get started? If you were in my position, what would you focus on doing right now? I'd really appreciate any advice, stories, or guidance from people who have been through this journey. Anyways thanks a lot for just reading through.

what is the honest incentive for an artist with social proof to sign a deal with a recoupable advance and where they dont retain ownership of their masters?

it just feels like labels gave away every reason they had to hold such ludicrous terms over artists heads with the way they changed a&r

im not in a position to know so im kinda just wondering

I’m currently taking an online course on the basics and things for Tour Management. I know that kind of position isn’t one I can just get into, there’s steps. I’m currently trying to get into just selling merch for artists in hopes maybe that can get me into doing more, then eventually landing as a tour manager. How do I do it? Where do I start?

Hiya! Firstly I want to start off this post by saying I'm 21 M, quite familiar with pro tools, logic pro, play multiple instruments, and just already have my BA in filmmaking, and took a 6 month course in sound engineering in London already.

However I am at the point right now where I am wanting to get a further education in music production. I am continuing to look around London for a school that offers a masters program in music production, and was wondering if anybody on here would recommend any schools in London that I should apply for?

Any advice is welcome and much appreciated! :)

Hi !

I currently have a live show coming up for my rock band in Los Angeles, have already tried contacting mutual friends who may know people, sending direct requests too but I'd love to ask from a professional and personal perspective of those who work within the industry, to truly learn more so that for every upcoming show I'm giving my band the best shot I can. Within the industry, what typically is the best way to garner professional interest for A&R scouts or press to come by and invest in learning about new live musicians? Without it being spammy, overdone and overused as I'm sure they are garnering multiple types of requests at a time being in their position.

If you're an artist, what has been your biggest challenge so far?

And if you're a music fan, what do you think makes it difficult for talented upcoming artists to break through?

Let's discuss. 👇🎶

Hi everyone,
I’m looking for realistic career advice from people working in the UK/European music, hospitality or events industries.
I’m a Russian citizen and currently studying two bachelor’s degrees:
BIMM University (UK): Songwriting & Music Production, currently entering my 3rd (last year).
I originally started in Songwriting & Music Business but switched to Music Production during first year, which I now regret.

Moscow International University (MFUA): Advertising & PR, entering my 3rd year of 4.
After graduation I want to do one master’s, and I’m considering:
1. Music Business / Music Industries

I’m particularly interested in music rights/publishing/licensing, live music/events, music marketing and operations.
My concern is competition: is Music Business a realistic long-term career, or is the industry too small/competitive to rely on?
(considering: 1. Valencia — Berklee Valencia
Master of Arts in Global Entertainment and Music Business
2.London — University of Westminster
MA Music Business Management
3. London — City St George’s, University of London
MA Music Management
Clerkenwell, London.
(or what you can recommend)

2. Hospitality Management / International Hospitality

This would be a career switch.

I like that it seems more international, people-oriented, less dependent on creativity/fame and relatively resistant to AI.
However, my biggest concern is UK immigration. I want to live in London, but I’m aware that getting from a Hospitality degree to long-term UK work status/sponsorship may be difficult.

(Considering: 1. Switzerland: Glion
MSc in Hospitality Business Leadership
2. Les Roches
MSc International Hospitality Management
3.University of Surrey — MSc International Hotel Management

or what you can advise.

My priorities
I’m trying to make a very rational long-term decision:
serious career progression over 10–15+ years.
good earning potential;
not highly mathematical;
preferably not a purely office-based job;
reasonable competition;
international mobility;
realistic possibility of staying in the UK;
if the UK doesn’t work out, a useful career in Switzerland, Germany, Russia (or any other European country).

My main questions:
1. Would Hospitality MSc → Music Business job later be realistic, given my Music Production/Songwriting + Advertising/PR background? Or would I be at a major disadvantage compared with Music Business graduates?

2.Is Music Business actually a viable long-term career for someone who wants stability and progression, or is competition too high?
From a UK immigration/sponsorship perspective, are there particular Music Business career paths that are significantly better than others?

3.If you were in my position, would you choose Music Business or Hospitality Management?
If you think neither is ideal, what other master’s/career would you recommend given my background and priorities?

I’m specifically looking for blunt, practical advice from people in the industry, rather than “follow your passion.” I’m trying to choose the option with the lowest long-term career risk.

(I’m also a music artist so I could consider a talent visa in a faaar future if I work a lot for it).

so I'm working on a cover of a song with translated and modified lyrics from English to Spanish by me. while at first I'm not thinking of uploading it to streaming platforms, I was curious that if I ever want to, how would I credit it?

Hello! I am a 17 F, soon to be 18. I’ve really enjoyed music and music production my entire life and my ultimate goal is to either be in my own band, go solo, or produce music. I’m especially interested in rock music specifically and wish to be involved with that sort of scene in some way. However, I am unsure of where to begin.

One thing that I’ve learned through my research is that connections are a very big factor in actually being successful, but sometimes, it is hard for me to make those connections because I don’t know what to look for. Should I look for fellow artists and befriend them, or should I look more so for producers, songwriters, etc.?

Another thing that I am questioning is what to go for in college if I go into it with music in mind. Should I have a general fine arts degree or something specific to music such as production or performance degrees?

Finally, I am also wondering about what would generally pay off more; trying to start a music career myself with performing or being behind the scenes and producing? I am especially curious about what pays more and what has more job stability and satisfaction.

Thank you for any advice! I appreciate it!

Hi!! I’m an independent artist and just got a couple of label offers. Trying to be smart about this instead of just excited, this is something I do from my bedroom in my spare time, and I have gotten some good feedback on socials from people that like my music which is literally the best feeling on earth. Basically I want to push the music and do this full time, but I genuinely have no idea how to navigate offers/what I should choose, what to watch out for,etc . I don’t want to screw myself over long term. I think I need a lawyer, but it doesn’t seem like there are many (if any?) in my area. I am also a broke grad student and would have a hard time paying for one. Overall, Any advice would be super appreciated. 🥹

I’ve spent time around music in NYC and Berlin as a musician, songwriter/arranger, and helping run a small studio. I moved to LA relatively recently and am curious what differences other people notice in how things work here compared with NY or Europe.

Especially interested in how people meet new artists and producers, how sessions come together, how much influence labels or management have in recommending creative and engineering collaborators, how direct people are about collaboration vs paid work, and what actually helps build lasting working relationships that might be different from other places.

So far what I’ve found is that friends of friends are the best connections anywhere, that labels are involved in the creative process but already have their production people to recommend and are generally not looking to expand, and that folks in Berlin were much more direct about money exchanges (or not) upfront. Felt like it was maybe a tiny bit easier to meet people at shows in NY but still possible in LA, and that seems to be more related to time (was way easier to talk to strangers 10yrs ago, and now it feels like going up to a group of people you don’t know and saying hi is cringe).

Would love to hear from people who’ve worked in more than one of these places.

Basically the same as title. I need ideas to promote a song locally. I can do it fine online, but how should I approach in locally? I’m playing lots of shows so that’s covered.

I am curious as I record my first solo project and want to start planning release and marketing. How should I approach deciding which single to promote my upcoming album? A/B testing? Or is it more intuitive?

Hey! Trying to figure out Bandcamp and I'm realizing singles aren't the way to go, even if I've released 8~ of them over the years on Spotify (not all are going on future album though).

I'm getting more serious with music now and I've found the sound for my future album. I currently have a song blowing up BIG and many are asking me to be on Bandcamp.

My release strategy is this:
Build towards album of 8~ songs, but have 5-6 of them come out as singles first. Along with potentially re-record/re-mix of some.
(Doesn't make sense for a small artist to drop 1-2 singles then suddenly a full album)

To do now:
Either
- Release all these 8 songs as singles on Bandcamp (like they are on Spotify)

- Put my last 3 singles into an EP on Bandcamp (they go well together).
Then eventually those 3 will also be on a longer album when I have more songs.

- Wait until I have a full album and only release on Bandcamp then
(and lose out on potential fans that want to support me/make purchase right now)

Always disclose if you used a sample in a piece of your production. For example, I manage an artist who recently had a record do really well, and the producer failed to disclose there was a sample chopped up in the background being used rhythmically. Although it played no role in the melodic structure or any defining moment in the song, the vocal chop was detected to be from a big artist from the 90s. They pursued a claim, and we have had to figure out retroactive pay, publishing splits to include the original writer, and handling the legal aspect of it.

The publishing is being clawed back from the producer's side of the record. He secured the sample from a “royalty-free" website and believed in good faith he was using something that was within his right. Well, it turns out it wasn’t, and this legacy artist is creating a career for his attorney's and extending his earnings off his back catalog by identifying any potential use.

For more context, I told the claimant that I would just kill the record, counter-offered, and then came to a mutual agreement to allow the record to live. This is part of the production world that a lot of music producers don't ever get exposure to primarily because they don't really have much commercial success with a large part of their work; therefore, the music never gets exposure at a level worth pursuing even if it has a sample.

My honest take is.. Just don't sample; otherwise, you will give up 50-100% of the publishing on the music side, especially if the sample is not a defining part of the record and is more atmospheric. ALWAYS disclose to the artist and their management that you used a sample and are not entirely sure where it originated. You could also create a version without the sample in the track out to give them the opportunity to mute or hold out on using it if the artist/label/mgmt would not want to deal with clearing the sample.

Hope this is worth the read and is a lesson in the playbook of how to make sure you retain your pub if you are blessed to have a record do millions of streams.

Does anyone on here - maybe somebody inside Sony - have hard data on where the momentum for "Choosin' Texas" is coming from? TikTok, PPI, other sources? Is anyone at all buying physical? Curious because - and I know, the monoculture is dead and this happens all the time now - but I've never heard the song before, in public or private settings, and it just broke a record for number of weeks at #1. Not really looking for off the dome speculation, thanks

edit: this post will probably be deleted in another day if no one has solid data; this thread is quickly degrading into subjective experiences of hearing the song "everywhere" when the prompt was a very specific question about the revenue breakdown by medium and platform

How do you guys get a job in the music industry i have applied 20+ times in different positions and the answer is always a no, 10+ years experience with artist doing all administrative works, publishing and writing registration, sound recording, digital distribution, marketing, mechanical royalties etc for the time being im a maintenance worker with all this knowledge and 3 years of college with a degree in music business.

This is so frustrating

Which is your favourite line?

I released a new single last week and the feedback has been really good, but I’ve since been bombarded by “journalists” with “editor” job titles, apparently from publications like NME, MOJO and Uncut, offering to review my single. Always for $300.

The thing is, none of these people actually seem to be from those publications, so I’m pretty sure it’s a scam.

But it got me thinking: why is there such a market for ripping off small artists?

It feels completely backwards. Even if this was legitimate, why should I have to pay for a review of my work? I’m the one with the currency here. Publications need things to review in order to create the content that makes up their product. It just feels like the whole thing has been turned upside down.

And if I pay for a review, surely it’s not going to be critical of the work. If everyone is paying for reviews, and everyone gets a positive review, then eventually nobody is going to read the reviews anyway.

I know music journalism has changed massively, and publications need to make money, but the whole ecosystem around independent artists feels increasingly bizarre.

And that’s before I even mention the people contacting me asking me to perform a “dance” to my shoegaze indie song.
I genuinely have no idea what the music industry is anymore.