Matthias Schmid

The internet has been around for more than 25 years. On-line delivery of music and films no longer take ages. According to Motion Pictures of America and IFPI, most people watch films or listen to music via streaming. In fact, IFPI’s 2019 Music Listening Report, 89% listen to music through on- demand streaming. Many do so using YouTube, showing that the platform between music and films are blurred. Naturally, the revenue streams from the different means of exploiting copyright for music is now coming mainly from streaming. As much as 59% is coming from streaming. Performing rights societies which traditionally manage broadcast, cable and performing rights are becoming more and more important. In this session, we examine the role of collective rights management organisations (traditionally called “performing rights societies”), in this world of new consumer habits and how different players are responding to this trend. Should new rights like those in the EU Directive on Copyright in the Digital Single Market (Directive 2019/790) be introduced or is technology and business models the right avenues for response?