The music industry has long been a topic of discussion when it comes to fairness, compensation, and the struggles faced by creators. A recent statement by Chappell Roan at the Grammys has sparked heated debates about the need for labels to provide artists with a livable wage and health insurance. This call for change has resonated widely, highlighting the systemic issues that many musicians and songwriters face in earning a sustainable income. The conversation gained further momentum when Raye, a British singer-songwriter, used her platform at the 2024 Ivor Novello Awards to advocate for fair compensation for songwriters and composers. Raye, who had previously struggled with her label to release her debut album My 21st Century Blues, took the stage to plead for the normalization of giving songwriters master royalty points. Her speech emphasized the importance of ensuring that songwriters benefit financially when their songs achieve success.
The Ivors Academy, a London-based not-for-profit organization dedicated to supporting music writers and their rights, has been at the forefront of this fight. Ahead of a meeting with the UK government and Chris Bryant, the minister for the creative industries and arts, the Academy highlighted the growing challenges music creators face in earning a sustainable income. Speaking at a government-chaired session of the Creators Remuneration Working Group, Ivors Academy Chair Tom Gray and CEO Roberto Neri called out the systemic failures affecting songwriters and composers. They pointed to declining revenues and the rising costs of daily life, which have left many creators struggling to make ends meet. Neri emphasized that the proposed reforms aim to address these imbalances, suggesting practical solutions such as a daily allowance for songwriters, fairer rewards for long-form music, and stronger negotiation rights. The Academy also stressed the need for mechanisms to adjust contracts and prevent coercive buyouts, which often leave creators with little control over their work.
The Ivors Academy highlighted several potential solutions for lawmakers to consider. These included introducing a minimum daily allowance for songwriters’ expenses when working with artists, assigning a portion of master recording royalties to songwriters, and rewarding composers who produce longer works. Additionally, the Academy called on streaming services to ensure that songs are fairly valued by engaging in negotiations with publishers in parallel with labels. In line with EU law, the government was also urged to introduce contract adjustment mechanisms to protect creators. These proposals aim to create a more equitable system where songwriters and composers can earn a fair living from their work.
The urgency of this issue is underscored by the stark reality of declining revenues for songwriters. According to research from the Intellectual Property Office (IPO), revenues for songwriters have decreased by 20% in real terms from 2000 to 2019. In 2019, a songwriter generating one million streams per month—a milestone achieved by just 0.026% of tracks—could expect to earn only £15,288 per year. This amount is less than the UK’s minimum wage for full-time work, making it clear that many creators are barely scraping by. Gray warned that without urgent reform, earning a living from making music will become the privilege of the wealthy, rather than a possible career for all talented creators. This, he argued, poses a serious threat to the UK’s music industry and creative industries as a whole.
The fight for fair compensation is not just about numbers; it’s about sustainability and justice for the people who bring music to life. Raye’s speech and the Ivors Academy’s advocacy serve as a reminder that the music industry’s success is built on the creativity and hard work of songwriters and composers. Ensuring that these creators are fairly compensated is not only a moral imperative but also essential for the long-term health of the industry. Without meaningful reforms, the UK risks losing a generation of talented musicians who cannot afford to pursue their passion.
In conclusion, the debate over fair compensation for songwriters and composers is far from over. Chappell Roan’s call for a livable wage and health insurance, Raye’s advocacy for master royalty points, and the Ivors Academy’s proposals for systemic reform all highlight the urgent need for change. The UK government and the music industry must take concrete steps to address the systemic failures that have left so many creators struggling to make ends meet. Only through fairer compensation and stronger protections can the music industry ensure that it remains a vibrant and inclusive space for all talented creators.
