TikTok is a short-from video sharing platform that allows content creators to use copyrighted music in their videos. This feature is central to TikTok’s appeal, with viral trends on the platform often featuring copyrighted music. One such trend involved Sophie Ellis-Bextor’s ‘Murder On The Dancefloor’ which became one of the most used tracks on the app after its feature in Emerald Fennel’s 2023 film Saltburn. As a result, the 2001 dance track shot up the UK top 100 as well as charting in the US for the first time. In light of TikTok’s reliance on copyrighted music, much of which is owned by UMG, the label has said: “Ultimately TikTok is trying to build a music-based business, without paying fair value for the music.”

UMG’s open letter states concerns over artist compensation, the use of AI songs, a topic that UMG has been critical of before, and the poor moderation on the platform. Although all these issues are common on TikTok, the timing of UMG’s open letter would suggest that an inadequate licencing deal was the catalyst for UMG’s dissatisfaction with the platform. UMG stated that the social media company’s offer was “worth less than the previous deal, far less than fair market value and not reflective of their [TikTok’s] exponential growth.”

The same day that UMG released their open letter, a representative from TikTok responded, saying: “Universal Music Group has put their own greed above the interests of their artists and songwriters.” TikTok’s response aimed to portray the platform as one that “serves as a free promotional and discovery vehicle for their [UMG’s] talent.” Although it is true that artists often see an increase in attention from exposure on TikTok, this increased traffic is rarely sustained on a long-term basis.

Artists on TikTok are paid per video rather than per view. According to the music promotion company, SoundCampaign, artists with an 100% share of their own royalties receive $0.003 (£0.0024) per video that features their music. Artists receive no payment with regards to views on individual videos that include their work.

UMG has accused TikTok of “selectively removing the music of certain… developing artists, while keeping on the platform… audience-driving global stars.” In response to these poor negotiations, UMG has pulled some of its music from TikTok. Aiming for maximum disruption UMG has, at time of writing, removed both Drake’s and Taylor Swift’s official music from TikTok.

Universal’s actions have already been received poorly by many TikTok creators. TikTok creator Evan Cronin, who spoke to The New York Times today, has had music retroactively removed from his videos, making his content an “essentially a dead post”.

Artists have responded with their own reactions to the UMG dispute, with indie singer Beabadoobee acknowledging the removal of her work from TikTok. In her response, Beabadoobee posted a video that includes a version of her song ‘Talk’ played at two times speed in order to circumvent automated copyright recognition on the platform.

Whether this dispute reaches a resolution or not, it is clear that, for now, many of the world’s largest artists will have their music entirely removed from TikTok. With UMG having no current disputes with other short-form video platforms like Instagram Reels and YouTube Shorts, it remains to be seen whether TikTok creators will end up migrating to other platforms which have working relationships with UMG.

Annie told the House of Commons committee that an alarming number of stories have yet to emerge. Her further comments on the music industry were that it was a “boys club” and “the system is kind of rigged against women.”

Author of the new book The Mess We’re In, Annie Mac, gave evidence to the committee at the House of Commons, where she told them of a young singer and a record producer who kept asking her not to go home, and “then when they go out in the street, he sexually assaulted her,” she said.

@itvnews DJ Annie Mac says music industry has ‘tidal wave’ of sexual abuse cases and is ‘boys’ club’ #itvnews #anniemac #music ♬ original sound – itvnews

Musicians Union published survey evidence to UK Parliament in 2022, were the idea of the music sector being a “boys club” was reported in the latest stats. They MU published this statement, “Respondents to the MU 2022 snapshot survey commented on the lack of women in workplaces across the sector and a distinct lack of female role models and women in leadership positions. More than one participant commented “it’s a boys club”. This emerged as a main theme and one of the reasons why respondents felt that many cultures and working environments in the music industry are misogynistic by nature” “The 2020 UK Music Diversity Taskforce survey found that in there is an underrepresentation of women in senior positions within the sector. Women represent 40.4% of the sector at senior level. “

Musicians Union is the UK’s trade union for all musicians across the UK, working in all sectors of the music business. They help members negotiate with major employers in the industry and offer a range of support services for musicians; however, most are unaware of them.

Annie further comments, “There needs to be some sort of a shift in women feeling like they’re able to speak out without their careers being compromised.”

Further reports from the MU snapshot survey presented statistics on sexual harassment. At 48%, almost half of the 800 musicians surveyed reported sexual harassment; 58% said they had witnessed sexual harassment; 85% had experienced sexual harassment but did not report it; and 40% did not report it for fear of losing work.

Macmanus told the MP’s “That is that women, especially young women in the music industry, are consistently underestimated and undermined, and freelance women are consistently put in situations where they are unsafe.”

Findings by the Musician Union allegedly found that there were power imbalance’s between freelancers and the people who engage them. The common views of many members during the survey said “When a freelancer relies on an individual for work, they are less likely to speak out.”

Misogyny in the music industry, suggests it may spread further than just alleged claims of a sexual nature but to supposed pay gaps, mental health, a lack of access to professional training and development, and being passed over for promotions. These alleged claims come from Be The Change case study of sexual harassment in the music industry in 2023.

The UK Parliament Women and Equalities Committee launched its ‘Misogyny in Music’. This brought in evidence from the BBC, that last year only one in ten headliners were female at the UK’s top music festivals. It also has MP’s asking questions about the safety of female musicians at UK music festivals.

Annie Mac said she has not “experienced or witnessed any sexual misconduct firsthand.” and believes her 19 years working with the BBC provided her with a “shield of protection to talk about such issues.” but most concerning she added “The thing that worries me the most is the rapes that are going unreported. That’s what concerns me the most – the fact that women feel like they can’t speak up.”

To purchase Annie Macmanus’s new book click the link here.

The inaugural census asked 6,000 working musicians around the country a multitude of questions. The survey is the first of its kind in the country, created by The Musicians’ Union and the charity Help Musicians. It is expected that the survey will be repeated every three to five years.

The census also shed light on other demographics within working musicians in the UK as it was discovered that 70% of musicians are educated to a degree standard or higher with 50% holding a music degree.

Natalie Pohl, the Musicians’ Union General Secretary said about the survey: “The first Musicians’ Census highlights the challenges musicians face carving out and sustaining a career as a musician in 2023. As the UK’s trade union for musicians, this Census will help us be more effective at representing our members and tackling the nuanced challenges different communities of musicians face.”

More than half of the survey’s respondents reported they have to work multiple jobs in order to make a living. Investigations show that on average, a working musician has three or four other jobs. Musicians who are lucky enough to be able make it their entire livelihood on average earn only £30,000 a year, which is £4,000 less than the UK median average salary for the financial year ending in 2022. Only 3% of those who answered the survey earn £70,000 or more.

An anonymous respondent to the survey said: “a real glass ceiling in terms of performance pay with fees for most performance opportunities the same as they were 20 years ago … the hours are unsociable, rehearsals are often unpaid and there is much unpaid waiting around. Being a full-time musician and trying to be present as a parent is effectively impossible.”

44% of respondents complained of financial barriers that were holding them back in their career. Most notable and obvious financial issues surrounded around transport and equipment costs.

Furthermore, a lot of issues with debt were highlighted as well as the racial inequality in demographics. Overall, 17% of musicians were found to be in debt, whilst with black musicians it was found to be 30% were in debt.

In order for the statistics to make greater sense, 87% of the respondents were white and it was found that global majority musicians ultimately make less money than white musicians. From all of the respondents, a third of global majority musicians earn less than 25% of their income from music, whilst it is only a quarter for white musicians.

Musicians’ Union Continue ‘Invest In Musicians,’ Campaign to Lobby Government Throughout Pandemic

Government Announced final £300 million From Culture Recovery Fund for Venues and Festivals

Help Musicians Planning to Expand Music Minds Matter Service